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Bulletin  of  Bibliography  Pamphlets,  No.  J8 

READING  LIST  ON 

MODERN 
DRAMATISTS 

D'Annunzio,    Hauptmann,  Ibsen, 

Maeterlinck,  Phillips,  Rostand, 

Shaw  and  Sudermann 


By  CLARA  A.  MULLIKEN,  B.  A. 

B.  L.  S.,  NEW  YORK  STATE  LIBRARY  SCHOOL,  1906 


Price  20  Cents 


BOSTON 

THE  BOSTON  BOOK  CO. 
J907 


Reprinted  from 

BULLETIN  OF  BIBLIOGRAPHY 

Vol.  5,  No.  2  July  1907  and 

following  numbers 


...THE... 

RIVERDALE   PRESS 

BROOKLINE 

MASS. 


READING   LIST   ON   MODERN 
DRAMATISTS 

PREFACE. 

This  list  aims  to  cover  the  best  English  editions  or 
translations  of  the  dramatic  works  of  these  authors, 
whether  published  in  collections  or  separately.  The  an- 
notations and  references  to  critical  reviews  accompanying 
the  dramas  listed  are  followed  by  general  critical  and 
biographical  articles  selected  from  sources  in  English,  and 
include  separate  books,  periodicals  and  analytical  chap- 
ters of  books. 

Much  additional  matter  and  many  more  of  the  parti- 
cular dramas  of  these  authors  are  to  be  found  in  the 
native  tongue  in  which  they  write.  This  is  notably  true 
of  Hauptmann  and  Sudermann. 

Stoeckius,  in  his  Naturalism  in  Modern  German  Drama, 
includes  a  full  bibliographical  list  of  the  German  material 
relating  to  Hauptmann.  In  the  cases  of  Ibsen  and 
Maeterlinck  the  number  of  translated  dramas  tallies 
closely  with  the  number  of  originals.  For  a  fairly  com- 
plete list  of  their  published  plays  see  Hale's  Dramatists 
of  To-day.  The  publisher  is  given  for  each  volume  of  plays, 
and  in  most  cases  prices  are  quoted.  No  abbreviations 
not  immediately  intelligible  to  the  user  have  been  in- 
cluded. With  few  exceptions  the  books  listed  have  been 
personally  examined  by  the  compiler. 

THE      MODERN     DRAMA;      ITS     TRAITS, 
TENDENCIES  AND  TECHNIQUE. 

Adams,  William  Davenport,  comp.  Dictionary  of  the 
drama  ;  a  guide  to  the  plays,  playwrights,  players  and 
playhouses  of  the  United  Kingdom  and  America  from 
the  earliest  times,  y.  i.  O.  Phil.,  1904.  Lippincott, 
$3.  To  be  complete  in  2  v. 

Finds  a  place  here  merely  as  a  guidebook  to  a  vast  body 
of  varied  theatrical  publications.  Reviewed  in  Nation,  Nov. 
17,  1904,  79:400. 


Archer,  William.  Study  and  stage,  a  yearbook  of 
criticism.  250  p.  D.  Lond.,  1899.  Richards,  53. 

One  year's  notes  on  the  stage,    written    in  journalistic 
style,  but  level-headed  and  intelligent  in  perspective.    Mr. 
Archer   is   the   eminent    translator   of    most     of     Ibsen's  I 
dramas,  and  writes  as  fluently  in  the  Scandinavian  tongue  V 
as  in  English. 

Reviewed  in  Academy,  Dec.,  1899,  57  :  7*5-6 ;  Saturday 
Rev.,  Nov.  18,  1899,  88  :  643 ;  Spectator,  June  30,  1900,  84 : 903. 

Clapp,  Henry  Austin.  Reminiscences  of  a  dramatic 
cntic,  with  an  essay  on  the  art  of  Henry  Irving.  241  p. 
O.  Bost.,  1902.  Houghton,  $1.75. 

The  American  stage  during  the  last  30  years.  His  criti- 
cisms are  full  of  taste  and  penetration.  Spectator. 

Courtney,  William  Leonard.  Modern  social  drama  as 
influenced  by  the  novel.  (See  Fortnightly  Rev.,  1902, 
77  : 666-74.) 

A  lecture  delivered  in  Feb.,  1902,  at  the  Birmingham  and 
Midland  Institute.  Mr.  Courtney  is  editor  of  the  Fort- 
nightly Review  and  is  foremost  as  a  dramatic  critic. 

Faguet,  Emile.  The  -symbolical  drama.  (See  Inter- 
national Mo.,  Dec.,  1903,  8:  329-41.) 

This  member  of  the  French  Academy  gives  definite  ideas  ( 
as  to  the  existence  of  symbolism  in  the  different  dramas  of  9 
Ibsen  and  Maeterlinck. 

Filon,  Pierre  Marie  Augustin.  The  English  stage,  being  an 
account  of  the  Victorian  drama;  tr.  from  the  French  by 
Frederic  Whyte,  with  an  introduction  by  H.  A.  Jones. 
319  p.  O.  N.  Y.,  1897.  Dodd,  $2.50. 

Appeared  first  in  Revue  des  deux  mondes.  Includes  sum- 
maries, criticisms  and  prophecies,  with  chapters  on  Pinero 
and  Ibsen. 

Reviewed  in  Westminster  Rev.,  Feb.,  1897,  U7-  151-5,  by 
Stoddard  Dewey. 

Fiske,  Mrs.  Minnie  M.addern.  Matter  of  the  play.  (See 
International  Mo.,  1902,  5  :  629-44.) 

Concerned  with  the  stage  interpretation  of  the  problem 
play. 

Francke,  Kuno.  History  of  German  literature  as  deter- 
mined by  social  forces.  Ed.  4.  595  p.  O.  N.  Y.,  1901. 
Holt,  $2.50. 

An  enlargement  of  his  Social  Forces  in  German  Literature 
to  include  a  treatment  of  contemporary  German  drama.  A 
scholarly  work  summing  up  the  complex  forces  in  modern 
German  society,  but  not  always  just  in  criticizing  the  details 
of  the  different  dramas. 

Frey tag,  Gustav.  Technique  of  the  drama ;  an  exposi- 
tion of  the  dramatic  composition  and  art  .  .  .  tr.  from 
the  6th  German  ed.  by  E.  J.  MacEwan.  Ed.  3.  395  p. 
D.  Chic.,  1900.  Scott,  Foresman,  $1.50. 

Gaffney,  Fannie  Humphreys.  Modern  dramatic  realism. 
(See  Arena,  Ap.,  1903,  29:391-6.) 


Greenslet,  Ferris.  Theory  of  the  drama.  (See  Forum, 
July,  1899,  27  :  631-40.) 

A  thoughtful  discussion  of  dramatic  pleasure  and  its 
source. 

Hale,  Edward  Everett,  jr.  Dramatists  of  today  :  Ros- 
tand, Hauptmann,  Sudermann,  Pineiro,  Shaw, 
Phillips,  Maeterlinck  ;  being  an  informal  discussion  of 
their  significant  work.  236  p.  D.  N.  Y.,  1905.  Holt, 
$1.50. 

"  Essays  reprinted  partly  from  the  Dial,  dealing  mainly 
with  continental  plays  seen  on  the  American  stage.  Of 
lighter  weight  and  narrower  scope  than  Huneker's  Icono- 
clasts. Temperate,  conservative,  readable,  reliable."  A 
chatty  and  entertaining  book  for  the  general  reader  to  con- 
sult first,  but  one  which  he  may  safely  neglect  for  the 
further  study  of  any  particular  author. 

Reviewed  in  Atlantic  Mo.,  June,  1905,  95:842;  Nation, 
July  6,  1905,  81 :  14;  Outlook,  May  13,  1905,  80:  138;  'Dial, 
May  16,  1905,  38 :  357  ;  Critic,  July,  1905,  47  :  90. 

Hapgood,  Norman.  Stage  in  America,  1897-1900.  408  p. 
D.  N.  Y.,  1901.  Macmillan,  $1.75. 

Discusses  the  syndicate,  theatrical  conditions,  prevailing 
types  of  plays,  prominent  actors,  plays  and  dramatists. 
• "  Even  those  who  are  unable  to  agree  unreservedly  with  his 
precepts  and  conclusions  will  appreciate  the  vigor  and 
general  intelligence  of  his  convictions  and  his  comprehen- 
sion of  the  fundamental  principles  upon  which  the  theatre 
must  be  conducted  if  it  is  to  demonstrate  its  right  to  be  con- 
sidered an  art." 

Reviewed  in  Bookman,  13:241;    Nation,  72:401;    Dial, 
Spectator,   May,   1901,  1:704;    Literature,  8:465; 
41 :  129. 

Hapgood,  Norman.  Theory  of  dramatic  criticism.  (See 
Forum,  Mar.,  1899,  27  :  120.) 

A  plea  for  more  breadth  of  mind  in  our  dramatic  critics, 
disparaging  those  who  prudishly  moralize  upon  the  evils  of 
the  stage  and  remain  blind  to  the  art  of  the  play  and  to  its 
social  mission. 

Hennequin,  Alfred.  Art  of  playwriting ;  being  a  prac- 
tical treatise  on  the  elements  of  dramatic  construc- 
tion, intended  for  the  playwright,  the  student  and  the 
dramatic  critic.  187  p.  D.  Bost.,  ^1890.  Houghton, 

$1.25. 

Herrmann,  Oscar.  Living  dramatists:  Pinero,  Ibsen, 
D'Annunzio;  introduction  by  W.  W.  Massee.  O. 
N.  Y.,  1905.  Brentano,  $5  net. 

Huneker,  James  Gibbons.  Iconoclasts,  a  book  of  drama- 
tists :  Ibsen,  Strindberg,  Becque,  Hauptmann,  Suder- 
mann, Hervieu,  Gorky,  Duse  and  D'Annunzio,  Maeter- 
linck and  Bernard  Shaw.  430  p.  O.  N.  Y.,  1905. 
Scribner,  $1.50  net. 


S:335; 
ritic,  4 


Brilliant  and  original  characterizations  of  the  symbolistic 
and  revolutionary  dramatists.     The  subjects  of  the  essays 


misses  in  his  work  is  repose  and  finish  and  a  careful 
avoidance  of  too  general  observations." 

The  greater  part  of  the  foregoing  essays,  now  completely 
revised,  first  appeared  in  The  New  York  Sun.  They  also 
appeared  in  single  numbers  in  The  Lamp. 

Reviewed  in  Athenaeum,  August,  1905,  2 : 284:  Atlantic 
Mo.,  June,  1905,  95  : 841,  by  H.  W.  Boynton  ;  Dial,  May  16, 
1905,  38  : 357 ;  Outlook,  May  13,  1905,  80 : 140. 

Jerome,  Jerome  K.    Problem  of  the  problem  play.     (See 
Harper's  Weekly,  Dec.  10, 1904,  48  : 1916-18.) 

Kerr,   S.   P.      What  are  immoral  plays  ?      (See   West- 
minster Rev.,  Ap.,  1901,  155  :  444-50.) 

Answer  to  Allan  Laidlaw's  What  are  immoral  flays  ? 
challenging  his  theory  and  presenting  a  more  solid  and 
tempered  argument. 

Laidlaw,  Allan.      Drama  on  the  downward  grade,  1868- 

1898.     (See  Westminster  Rev.,  Mar.,  1900,  153  : 317-23.) 

Scattered  and  unique  remarks  to  prove  that  one  form  of 

drama  is  degenerating  and  giving  place  to  a  form  of  a  higher 

kind. 

Laidlaw,  Allan.     What  are  immoral  plays  ?      (See  West- 
minster Rev.,  Aug.,  1900,  154:  212-16.) 

Answers  the  question  in  an  original  but  fantastic  manner. 
The  argument,  in  the  somewhat  difficult  case  of  art  or 
morals,  is  against  repression  of  these  plays  on  the  stage. 
A  sounder  answer  is  found  in  S.  P.  Kerr's  article  in  West- 
minster Rev.,  155  : 444-50. 

McCracken,  Elizabeth.      The  play  and  the  gallery.     (See 
Atlantic  Mo.,  89:497-507.) 

The  effect  of  the  theatre  upon  the  social  and  moral  stan- 
dards of  the  tenements. 

Published  also  in  the  Outlook,  May,  1902,  71:  169-78. 
Maeterlinck,  Maurice.      The  modern  drama.      (See  his 
The  double  garden.      1904.) 

Published  by  Dodd,  D.  $1.40. 

Marked  by  distinction  of  style  and  freshness  of  vision. 
Suggestive  if  not  convincing. 

An  article  under  the  same  title,  translated  by  Alfred 
Sutro,  appeared  in  the  Cornhill  Mag.,  Aug.,  1899,  80  : 166-73. 

Maeterlinck,  Maurice.      Of  our  anxious  morality.      (See 
Fortnightly  Rev.,  Jan.,  1906,  85  :  46-61.) 

Translated  by  Alexander  Teixeira  de  Mattos. 
Matthews,  Brander.     Development  of  the  drama.    351  p. 
D.    N.  Y.,  1903.     Scribner,  $1.25  net. 

Mr.  Matthews  is  a  playwright  and  a  critic  of  distinction 
who  writes  with  charm,  sincerity  and  effect. 

Reviewed  in  Nation,  Oct.  29,  1903,  77 : 346-7 ;  Lamp,  Nov., 
1903,  27 :  329-32- 


Matthews,  Brander.  Makers  of  drama  of  today.  (See 
Atlantic  Mo.,  Ap.,  1903,  91 :  504-12.) 

A  historical  sketch  of  dramatic  progress  during  the  nine- 
teenth century.  Mr.  Matthews  is  distinguished  as  a  critic 
of  French  drama. 

Merington,  Marguerite.  What  constitutes  a  play  ?  (See 
North  American  Rev.,  Dec.,  1902,  175  : 863-70.) 

"  That  the  persons  of  the  play,  under  extraordinary  con- 
ditions, shall  produce  on  an  audience  the  effect  of  human 
nature,  is  the  touchstone  of  the  playwright's  art." 

Price,  William  T.  Technique  of  the  drama;  a  statement 
of  the  principles  involved  in  the  value  of  dramatic 
material,  in  the  construction  .of  plays  and  in  dramatic 
criticism.  287  p.  D.  N.  Y.,  1897.  Brentano,  $1.50. 

Potter,  Helen.  The  drama  of  the  twentieth  century. 
(See  Arena,  Feb.,  1900,  23: 157-66.) 

A  rambling  attempt  to  show  the  evolution  toward  the 
realization  oT  a  new  ideal  —  that  of  a  "conditioned  stage 
with  a  conditioned  audience." 

Scott,  Clement.  Drama  of  yesterday  and  today.  2  v. 
O.  Lond.,  1899.  Macmillan,  $7. 

"  Result  of  forty  years  keen  observation,  enthusiastic  and 
competent.  Valuable  especially  as  a  history  of  the'  stage, 
and  for  its  chronicle  of  plays  in  the  appendix.  Its  repeti- 
tion, gossip,  and  needless  bulk  detract  from  its  readable 
interest." 

Reviewed  in  Athenaeum,  Dec.  23,  1899: 874-5. 

Scott,  Clement.  Two  dramatic  revolutions.  (See  North 
American  Rev.,  157  :  476-84.) 

A  non-Puritanic,  impressionable  and  violent  attack  on 
Ibsen's  "Ghosts"  and  the  "  Second  Mrs.  Tanqueray,"  de-  , 
crying  their  pessimism  and  irreverence  and  the  "  art  that  i 
makes  evil  good  upon  the  stage."      Mr.  Scott  is  dramatic  ( 
critic  for  the  Daily  Telegraph. 

Shaw,  George  Bernard.  Dramatic  opinions  and  essays 
containing  ...  a  word  on  the  dramatic  opinions  and 
essays  of  G.  Bernard  Shaw,  by  James  Huneker.  2  v. 
D.  N.  Y.,  1906.  Brentano,  $2.50  net. 

Criticisms  of  Ibsen,  Sudermann  and  Rostand  are  scattered 
through  this  collection,  made  up  of  the  papers  contributed 
by  Mr.  Shaw  in  his  capacity  as  dramatic  critic  to  the  Lon- 
don Saturday  Review,  1895-98. 

Symons,  Arthur.  Plays,  acting  and  music.  D.  N.  Y., 
1903.  Dutton,  $2  net. 

"  Leader  and  follower  of  the  school  of  symbolists,  Mr- 
Symons  with  true  critical  gifts  here  uncovers  the  veil 
01  mysticism  that  hangs  about  them."  The  book  is  mainly 
concerned  with  the  continental  drama.  Clearly  defined 
individual  views  about  the  artistic  features  of  the  drama  are 
expressed  in  beautiful  prose. 

Reviewed  in  Saturday  Rev.,  96  : 360 ;  Academy,  Sept.  19, 
1903.  65  :  261 ;  Athenaeum,  Dec.,  1903  :  762 ;  Dial,  37  :  62. 


Tree,  Herbert  Beerbohm.  Some  aspects  of  the  drama  of 
today.  (See  North  American  Rev.,  Jan.,  1897,  164  :66- 
74-) 

A  critical  outline  of  the  essentials  of  the  art  of  the  stage. 
Of  value  because  Mr.  Tree  is  himself  an  actor-manager. 

Walkley,  Arthur  Bingham.      Dramatic  criticism ;    three 

lectures  delivered  at  the  Royal  Institution,  February, 

1903.     125  p.  D.     Lond.,  1903.     Murray,  55.  net. 

These  lectures  on  The  Ideal  Spectatpr,  The   Dramatic 

Critic,  Old  and  New  Criticism,  dealing  with  stage  criticism 

in  the  main,  are  lucid  and  reliable. 
Wedmore,  Frederick.     Literature  and  the  theatre.     (See 

Nineteenth  Century,  Ap.,  1902,  51 :  568-80.) 

Claims  that  the  two  can  be  divorced.     Studies  of  Pinero, 

Becque  and   Hervieu  incidentally  made  in  comparing  the 

English  and  French  stage- 

West,  Kenyon.  Dramatic  criticism.  (See  Era,  July, 
1903,  12:39-44.) 

On  the  ideal  dramatic  critic  and  playwright  and  their 
responsibilities  in  interpreting  the  public  taste. 
Woodbridge,  Elisabeth.      The  drama,  its  laws  and  its 
technique.      181  p.  D.   .  Bost.,  1898.    Allyn,  8oc.  net. 

Founded  on  Freytag's  Technique  of  the  Drama  adapted 
to  modern  American  use.  Contains  a  good,  short  bib- 
liography. A.  L.  A.  Catalog,  1904,  p.  181. 

D'ANNUNZIO. 

Annunzio,  Gabriele  d'.  (The)  dead  city :  a  tragedy, 
rendered  into  English  by  G.  Mantellini ;  illustrated 
from  the  stage  productions  of  Eleonora  Duse.  282  p. 
D.  Chic.,  1902.  Lairdi#i.2S. 

A  sympathetic  and  admirable  translation.  William  Sharp. 
Action  takes  place  in  Greece  on  the  plain  of  Argolis.  The 
play,  showing  a  strange  introduction  of  the  fatality  of  the 
Greek  tragedy  on  the  modern  stage,  has  been  received  with 
almost  equal  praise  and  censure.  Morbid,  vitiated,  gloomy 
and  overwrought  in  description,  it  is  beautiful  in  its  original 
phrasing  and  construction. 

Reviewed  in  Academy,  Tune  2.  1900,  58  :  464-6  ;  Saturday 
Rev.,  Sep.  22,  1900,  90  :  366 :  Dial,  Jan.  i,  1903,  34 :  8-9,  by  H. 
D.  Sedgwick,  Jr. ;  Critic,  Dec.,  1902,  41 :  574-5. 

Annunzio,  Gabriele  d'.  (The)  dream  of  an  autumn  sun- 
set; tr.  from  the  Italian  by  Anna  Schenck.  (See 
Poet-lore,  Jan.-Mar.,  1904,  15:  6-29.) 

The  setting  of  this  one-act,  one-scene  play  is  picturesquely 
described  "as  a  domain  of  a  patrician  of  Venice,  on  the 
bank  of  the  Brenta."  Lurid,  violent  and  unremittingly 
hysterical,  it  is  the  opposite  extreme  of  the  beautiful  dreami- 
ness of  his  Spring  Morning. 

Annunzio,  Gabriele  d'.  Dream  of  a  spring  morning;  a 
play ;  tr.  from  the  Italian  by  Anna  Schenck.  (See 
Poet-lore,  1902,  14:  6-36.) 


A  long,  one-act  play  in  five  scenes.  The  argument  is 
much  the  same  as  that  of  Romeo  and  Juliet,  a  morbid 
motive  of  Isabella's  madness  and  hysterical  passion  worked 
out  with  delicate  and  exquisite  pathos  and  promising 
dramatic  possibilities. 

Annunzio,  Gabriele  d'.  Francesca  da  Rimini ;  tr.  by 
Arthur  Symons.  223  p.  D.  N.  Y.,  Ci902.  Stokes,  $i. 
In  an  introductory  analysis  the  translator  says,  "This  play 
is  more  than  a  tragedy  of  two  lovers,  it  is  a  study  of  an  age 
of  blood  in  the  i3th  century  in  Italy."  The  long,  beauti- 
fully told  story,  with  its  luxurious  descriptions,  symbolic 
color  and  allusion,  is  developed  with  more  conciseness  and 
delicate  reserve  than  the  author  has  shown  in  any  other 
translated  drama. 

Reviewed  in  Kuhns,  L.  O.,  Great  poets  of  Italy,  1903.  p. 
331-9;  Fortnightly  Rev.,  Feb.  1902,  77  :  237-46,  by  Arthur 
Symons  ;  Athenaeum,  Ap.  n,  1903,  i :  475  ;  Dial,  Jan.  i,  1903, 
34 : 9,  by  H.  D.  Sedgwick,  Jr. ;  Saturday  Rev.,  July  25,  1903, 
96:114. 

Annunzio,  Gabriele  d'.  Gioconda;  tr.  by  Arthur  Symons. 
144  p.  D.  N.  Y.,  1902.  Russell,  $i. 

Has  been  received  in  the  Italian  theatres  as  one  of  the 
most  remarkable  plays  of  modern  Italian  drama.  The 
author's  quick  eye  for  all  shades  of  force,  strangeness,  magic 
and  delight,  make  it  a  tragedy  of  great  beauty  and  power. 
The  character  analysis  in  Silvia  reveals  a  strong  woman's 
soul.  The  motive  —  the  contest  between  the  life  of  art  and 
the  everyday  life  of  home  — is  so  bold  in  treatment  and 
development  as  not  to  allure  the  average  reader  or  listener. 
Its  constructive  fault  is  its  excess  of  dialogue  over  move- 
ment. 

Reviewed  in  Academy,  Oct.,  1901,  61 :  336-8;  Critic,  Dec., 
1902,  41 : 574-5. 

Criticism. 

Cooper,  Frederic  Taber.  Gabriele  d'Annunzio.  (See 
Bookman,  Mar.,  1896,  3:  18-23.) 

A  biographical  and  critical  sketch  without  reference  to  his 
dramas. 

Courtney,  William  Leonard.      D'Annunzio.       (See  his 
Development    of    Maurice     Maeterlinck    and    other 
sketches  of  foreign  writers.     1904.) 
Crawford,  Virginia  M.     Gabriele  d'  Annunzio.      (See  her 

Studies  in  foreign  literature.     1899.    p.  186-218.) 
De  la  Ramee,  Louise.     Gabriele  d'  Annunzio.      (See  her 
Critical  studies.     1900.    p.  1-49.) 

Under  her  pseudonym  "  Ouida,"  the  writer  has  also 
written  an  appreciation  of  "  The  genius  of  D'  Annunzio  " 
which  appeared  in  the  Fortnightly  Rev.,  Mar.,  1897,  67:  349- 
73.  A  clear  exposition  of  his  mind  and  literary  tendencies. 
Fornaro,  Carlo  de.  DAnnunzio,  the  man.  (See  Critic, 
Aug.,  1904,  45  :  137-41-) 

A  personal  sketch  with  pictures. 


Fornaro,  Sofia  de.     Italian  writers  of  today.    (See  Critic, 

Aug.,  1902,  41  :  103-5.) 

,  Contains  a  slight  characterization  of  D'Annunzio. 

J  Herrmann,  Oscar.  Living  dramatists  :  Pinero,  Ibsen, 
D'  Annunzio ;  introduction  by  Will  W.  Massee.  187  p. 
O.  N.  Y.,  1905.  Brentano,  $5  net. 

Italian  poets  of  today.  (See  Quarterly  Rev.,  1902,  196: 
246-68.) 

D'  Annunzio's  dramas,  characteristics,  melancholy  and 
love  of  the  mysterious  are  the  topics  discussed. 
Kuhns,  Levi  Oscar.  The  great  poets  of  Italy,  together 
with  a  brief  connecting  sketch  of  Italian  literature, 
with  portraits.  359  p.  D.  Bost.,  1903.  Houghton,  $2 
net. 

"  Elementary  introduction  to  the  history  of  Italian  litera- 
ture, expanded  from  a  study  of  the  Italian  poets  prepared 
for  Chautauqua  circles."  D'Annunzio  is  considered  in  the 
chapter  on  "Nineteenth  century"  and  particular  study  is 
given  to  "  Francesca  da  Rimini." 

Reviewed  in  Dial,  Dec.  i,  1903,  35:  418,  by  W.  M.  Payne. 
Sedgwick,  Henry  Dwight.       D'Annunzio,  poet  and  play- 
wright.    (See  Dial,  Jan.  i,  1903,  34  :  7-10.) 

In  his  volume  of  Essays  on  Great  Writers  Mr.  Sedgwick 
gives  a  longer  and  closer  study  of  "  D'Annunzio,  the  nov- 
elist," which  throws  light  on  the  general  style  and  character 
of  the  man. 

Sharp,  William.  The  dramas  of  Gabriele  D'Annunzio. 
(See  Fortnightly  Rev.,  Sep.,  1900,  74:391-409.) 

Minutely  detailed  and  competent  analysis  of  each  of  his 
published  dramas. 

Symons,  Arthur.  D'Annunzio.  (See  his  Studies  in 
prose  and  verse.  1904.  p.  129-42.) 

A  significant  work  of  criticism  by  a  stable  critic.  He 
writes  briefly  but  always  pregnantly. 

Wharton,   Mrs.  Edith.      The  three   Francescas.       (See 
North  American  Rev.,  July,  1902,  175  :  17-30.) 
Comparison  of  Phillips,  Crawford  and  D'Annunzio. 

HAUPTMANN. 

Hauptmann,  Gerhart.  Coming  of  peace;  a  family  catas- 
trophe; tr.  by  Janet  Achurch  and  C.  E.  Wheeler. 
125  p.  O.  Lond.,  1900.  Duckworth,  3s.6d.  net. 

"  Congenial  home  life  is  made  impossible  through  the  dis- 
parity of  education  and  the  consequent  diversity  of  interest. 
The  play  has  little  chance  on  an  English  stage.    It  would  be 
called  lugubrious.    The  translation  is  satisfactory." 
Reviewed  in  Academy,  Nov.,  1900,  59 :  460. 

Hauptmann,  Gerhart.  Elga ;  tr.  from  the  German  by 
Mary  Harned.  (See  Poet-lore,  1906,  17 :  1-35.) 

A  new  version  of  Grillparzer's  tale  of  The  Kloster  of 
Sendomir  —  concerned  with  the  tragedy  of  an  injured  hus- 
band, and  for  the  most  part  cast  in  the  form  of  a  dream. 
There  are  one  or  two  very  good  dramatic  epis9des,  but 
Hauptmann's  standard  of  best  work  in  naturalistic  drama 
is  not  maintained. 


Scene  from   Gerhart   Hauptmann's  latest  play  [Elga]. 
(See  Current  literature,  Sep.,  1905,  39  :  318-22.) 
Reviewed  in  Academy,  Mar.,  1905,  68  :  243. 

Hauptmann,  Gerhart.  Hannele :  a  dream  poem  ;  tr. 
from  the  German  by  William  Archer.  195  p.  D. 
Loud.,  1894. 

Reveals  the  mind  and  soul  of  a  wretched  little  orphan 
who,  just  before  her  death,  lapses  into  a  delirium  in  which 
she  sees  in  fantastic  action  all  the  visions  of  her  unhappy 
life  and  her  "  himmelfahrt"  beyond.  By  means  of  a  delicate 
art  that  feels  for  simple  words,  makes  the  emotions  bound, 
and  colors  and  vivifies  all  it  touches,  Hauptmann  carries  us 
into  this  atmosphere  of  dreamland  where  Hannele  is  soar- 
ing and  makes  us  see  the  same  visions  in  realistic  shape  and 
plan.  This  dream  poem  is  his  most  characteristic  work, 
but  has  met  with  no  stage  success  outside  of  German 
theatres. 

Reviewed  in  Literary  world,  1895,  26:6;  Critic,  Feb.  10, 
1894,  24  :  97,  by  Arthur  Waugh. 

Hauptmann,  Gerhart.  Lonely  lives  :  a  drama;  tr.  from 
the  German  by  Mary  Morison.  179  p.  D.  Lond.,  1898. 
Heinemann,  28.  6d. 

Unmistakeably  Ibsenian  in  the  very  close  analogy  it  bears 
to  Rosmersholm ;  with  the  same  sets  of  problematic  char- 
acters battling  with  the  same  matters  of  religion  and  science, 
and  the  same  ill-defined  bounds  of  platonic  liberty,  yet 
drawn  in  shapes  that  are  more  human,  true  and  appealing. 
The  psychology  of  the  play  has  little  that  is  convincing. 
The  moral  tells  us  that  we  cannot  lift  ourselves  ethically 
above  our  age.  Some  critics  have  claimed  for  its  simple 
plot  the  best  construction  of  all  modern  stage  plays. 

Reviewed  in  Athenaeum,  Ap.  6,  1901,  i :  443  Critic,  35  : 
840  ;  Dial,  June  i,  1900,  28  :  430,  by  E.  E.  Hale,  Jr.  ;  Specta- 
tor, Sep.  30,  1893,  7i :  437- 

Hauptmann,  Gerhart.  (The)  sunken  bell,  a  fairy  play  in 
five  acts  .  .  .  tr.  by  C.  H.  Meltzer.  125  p.  D.  N.  Y., 
1902.  R.  H.  Russell.  Published  also  by  Heinemann, 
Lond.,  45.  net. 

A  perfect  fairy-drama  that  might  delight  a  child.  The 
same  art  that  in  Hannele  blended  the  real  with  the  ideal, 
the  natural  with  the  supernatural,  the  physical  with  the 
spiritual,  is  here  even  more  highly  idealized. 

Its  fancies  and  images  spring  from  primitive  nature,  whose 
woodland  elves,  sprites  and  fairies  appear  in  every  shape  of 
subtle  charm  and  weirdest  mystery.  Heinrich,  the  bell- 
founder,  is  a  mediaeval  mystic  who  is  striving  to  satisfy  his 
restless  soul  with  an  artistic  ideal  of  real  worth  and  purity. 
These  fairy  figures  stand  for  the  influences  of  nature  that 
seek  to  drag  the  artist-man  down  from  the  heights  to  the 
level  of  his  lower  instincts.  A  masterpiece  that  shows  all 
of  Hauptmann's  many  tendencies  in  dramatic  art,  as  beauti- 
ful to  see  as  it  is  to  read. 

Reviewed  in  Francke,  Kuno,  Glimpses  of  modern  Ger- 
man culture,  1898,  p.  85-97;  Spectator,  Ap.,  1900,84:602; 
Dial,  June  i,  1900,  28  430,  by  E.  E.  Hale,  Jr. ;  Academy, 
May,  1900,  58:  448;  Athenaeum,,  Feb.  21,  1903,  121 :  252. 

II 


Hauptmann,  Gerhart.  (The)  weavers,  a  drama  of  the 
forties ;  tr.  from  the  German  by  Mary  Morison.  148  p. 
D.  Lond.,  1899.  Heinemann,  2S.  6d. 

The  author  here  takes  as  his  theme  the  rebellion  of  the 
Silesian  flax-weavers  in  1860.  Their  hungry  eyes,  bowed 
necks  and  wretched  want  are  pictured  with  keenest  pathos 
and  unrelieved  gloom  of  the  sort  that  makes  this  play  a 
remarkable  judgment  of  man's  cruelty  to  his  fellow  beings. 
Hauptmann's  characteristic  failure  logically  to  work  out  {he- 
reformer's  ideas  that  he  can  set  forth  dramatically  with 
such  brilliant  effects  is  to  be  deplored.  Technically  the 
play  lacks  continuity  of  scene,  and  has  no  hero  or  spokes- 
man other  than  as  one  exists  abstractly  in  the  hunger  of  the 
masses. 

Reviewed  in  Critic,  Sep.,  1899,  35  :  839 ;  Dial,  June  i,  1900, 
28:  432,  by  E.  E.  Hale,  Jr. ;  Spectator,  Sep.  30,  1893,  71 : 436-7. 

Criticism. 

Barker,  Thomas  Stockham.  Gerhart  Hauptmann  and 
his  work.  (See  Critic,  Mar.,  1899,  34  : 225-31.) 

An  unfavorable  review  of  the  only  single  "biography  of 
Hauptmann  yet  published.  Gerhart  Hauptmann,  sein 
Lebensgang  und  seine  Dichtttng,  by  Paul  Schlenther,  pub- 
lished in  Berlin  in  1898,  amounts  to  a  general  sketch  of 
Hauptmann  and  a  criticism  of  his  plays. 

!   Coar,  J.  Firman.      Three  contemporary  German  dram- 
atists.   (See  Atlantic  Mo.,  Jan.,  1898,  81 :  71-80.) 

A  criticism  of  Wildenbruch,  Sudermann  and  Hauptmann. 
The  latter  is  enthusiastically  viewed  as  the  artist-poet  who 
wrote  The  Sunken  Bell. 

(See  his 


p.  85-98.) 
)f    the 


Francke,  Kuno.      Hauptmann's  Sunken  Bell. 
Glimpses  of  modern  German  culture.     1898. 

Gerhart   Hauptmann.       (See    Warner's  library    o: 
world's  best  literature,  17  : 7025-40.) 

A  general  sketch  with  an  extract  from  Hannele. 

Grummann,  Paul  H.  Recent  German  criticism  com- 
prising Bulthaupt's  interpretation  of  Hauptmann. 
(See  Poet-lore,  1905,  16 :  117-26.) 

A  reply  to  a  criticism  of  Hauptmann  in  Heinrich  Bult- 
haupt's Dramatiirgie  des  Schauspiels,  1902. 

Guthrie,  William  Norton.  Gerhardt  Hauptmann.  (See 
Sewanee  Rev.,  May,  1895,  3:2" 


A  well  written  appreciation  with  some  sane  comparisons 
of  Hauptmann  with  other  dramatists. 

Heller,  Otto.  Studies  in  modern  German  literature: 
Sudermann,  Hauptmann  ;  women  writers  of  the  igth 
century.  301  p.  D.  Bost.,  1905.  Ginn,  $1.25. 

Distinctly  popular  essays  indicating,  in  a  way  adapted  to 
readers  who  have  little  first-hand  information,  the  chief 
aspects  of  the  work  of  Hauptmann  and  Sudermann  and 
some  minor  women  writers.  The  critic  while  not  great  is 
always  sensible  and  genuinely  interested  and  interesting. 
He  shows  his  high  estimate  of  the  two  great  dramatists  in 
an  unduly  favorable  and  somewhat  too  detailed  analysis  of 
their  plays,  arranged  in  chronological  order. 

Reviewed  in  Athenaeum,  Nov.  18,  1905,2:685;  Poet-lore, 
Sep.,  1905,  16:  127-8. 


Henderson,  Archibald.      Gerhart    Hauptmann ;    social 
idealist.     (See  Arena,  Mar.,  1905,  33  :  251-7.) 

The  social  reformer  as  seen  in  his  four  greatest  plays. 
Clear  and  well-outlined. 

Lee,  Elizabeth.      German  drama  of  today.      (See  Living 
Age,  234: 156-66.) 

A  clear  indication  of  the  character  and  tendencies  of  the 
modern  drama  as  shown  in  Hauptmann  and  Sudermann. 
Marshal],   Beatrice.      Gerhart  Hauptmann.      (See   Fort- 
nightly Rev.,  Sep.,  1901,  76:459-81.) 

A  review  and  an  abstract  of  Dr.  Schlenther's  biography  of 
Hauptmann.  See  also  Baker,  T.  S.,  Gerhart  Hauptmann 
and  his  Work. 

Meyer,    Edward    Stockton.      Modern    German    drama. 
(See  Critic,  July,  1905,  47  : 61-70.) 

Treats  of  the  German  naturalistic  movement  as  developed 
by  Hauptmann  and  Sudermann. 

Miiller,   Margarethe.      Gerhart  Hauptmann.      (See  At- 
lantic Mo.,  Sep.,  1900,  86  :  368-77.) 

Nordau,  Max.      [Gerhart  Hauptmann,  his  writings  thus 
far.]     (See  his  Degeneration.     1895.    p.  523-30,  547.) 

Plays  of  Gerhart  Hauptmann.      (See  Living  Age,  Sep., 
1903,  238:  711-26.) 

Also  published  in  Quarterly  Rev.,  191 :  317-36.  A  review 
of  a  collection  of  Hauptmann's  German  plays,  with  a  brief 
analysis  of  each. 

Steiner,  Edward  A.    Two  German  dramatists.    (See  Out- 
look, Jan.  5,  1901,  67  :  74-7.) 

Based  on  personal  visits  to  Hauptmann  and  Sudermann 
and  condensed  into  a  brief  analysis  of  a  few  stage  plays. 

Stoeckms,  Alfred.  Naturalism  in  the  recent  German 
drama  with  special  reference  to  Hauptmann.  36  p. 
.  O.  N.  Y.,  1903. 

A  thesis  presented  for  the  degree  9f  Doctor  of  Philosophy 
at  Sdumbia'  University,  containing  a  valuable  biblio- 
graphy of  German  titles  and  a  chronological  list  of  Haupt- 
mann's works.  Of  special  interest  to  students. 

IBSEN. 

Ibsen,  Henrik.    Works ;  rev.  and  ed.  by  William  Archer.    ' 
ii  v.  D.    N.  Y.,  1906.    Scribner,  $1.25  ea. 

Contents: —  ..      „ 

V.  i.    Feast  at  Solhaug;    Lady  Inger  of  Ostrat ;    Love's 
comedy. 

2.  The  Vikings  at  Helgeland  ;  The  Pretenders. 

3.  Brand. 
Peer  Gynt. 


5.    Emperor  and  Galilean. 
.. -  6.    League  of  youth  ;  Pillars  of  society. 
7.    Doll's  house  ;  Ghosts. 


8.  Enemy  of  the  people ;  The  wild  duck. 

9.  Rosmersholm ;  The  lady  from  the  sea. 

10.  Hedda  Gabler  :  The  master  builder. 

11.  Little  Eyolf;   John  Gabriel   Borkman ;    When  we 
dead  awaken. 

13 


The  introduction  to  each  play  throws  valuable  light  both 
on  the  plays  and  their  author.  These  introductions  taken 
together  form  a  pretty  complete  review  of  Ibsen's  life  and 
art.  The  volumes  of  this  set  are  sold  separately. 

Ibsen,  Henrik.      Letters  ;  tr.  by  J.  N.  Laurvik  and  Mary 
Morison.    456  p.  O.    N.  Y.,  1905.    Fox,  $2.50  net. 

Included  here  as  containing  much  interesting  matter 
relating  to  Ibsen's  dramas. 

Reviewed  in  Fortnightly  Rev.,  Mar.,  1905,  83 :  428-41 ;  In- 
ternational Quar.,  Jan.,  1905,  10:261-77;  Dial,  Dec.,  1905, 
39 : 429-32  ;  Nation,  Mar.,  1906,  82  :  243-4. 

Ibsen,   Henrik.      Brand ;     a  dramatic  poem  in  5  acts. 

Published  also  by  Scribner.  288  p.  D.  $2.50.  N.  Y.,  1894. 
Tr.  in  the  original  metres  by  C.  H.  Herford. 

Shows  Ibsen  on  his  highest  plane  of  dramatic  work.  It  is 
an  unsparing  scourge  of  Norway's  half-heartedness  in  its 
pursuit  of  national  and  Christian  ideals.  While  so  intensely 
national  it  also  has  universal  application  in  that  it 
advocates  self-realization  regardless  of  the  sacrifice  in 
volved.  The  language  and  thought  are  stern  and  solemn 
symbolic  and  impressive. 

Reviewed  in  Arena,  Dec.,  1890,  3 : 81-90,  by  W.  L.  Cross  ; 
Contemporary  Rev.,  Mar.,  1891,  '59:407-22,  by  C.  H.  Her- 
ford; Fortnightly  Rev.,  Aug.,  1899,  72  :  227-39,  by  M.  A. 
Stobart;  Dial,  Ap.  16,  1894,  16:236-40,  by  W.  H.  Payne; 
Atlantic  Mo.,  Dec.,  1890,  66:  $56. 

Ibsen,  Henrik.     (A)  doll's  house. 

A  moral  essay  calling  for  more  equality  in  marriage. 
Nora,  who  furnishes  the  example  of  the  customary  sacrifice 
of  woman's  individuality,  is  one  of  the  most  distinctive  of 
Ibsen's  characters. 

The  plot  has  evidently  been  seized  for  the  mere  joy- of  its 
adaptability  for  a  dramatic  picture  and  for  the  play  it  has 
given  the  artist  in  painting  each  person  in  his  own  individ- 
uality. Considered  otherwise  there  is  little  excuse  for  a 
problem  so  impossible  and  for  whose  evils  there  is  agreed  to 
be  little  remedy. 

Reviewed  in  Saturday  Rev.,  May  15,  1897,  83 :  539-41,  by  G. 
B.  Shaw. 

Ibsen,  Henrik.    Emperor  and  Galilean. 

His  largest  work,  consisting  of  two  five-act  epic-dramas, 
Casar's  Apostasy  and  Emperor  Julian.  Boyesen  says,  "  It 
is  looser  in  construction  than  any  subsequent  dramas  and  is 
occasionally  even  a  trifle  prolix  in  its  discussions.  More- 
over the  wealth  of  philosophic  thought  keeps  both  critics 
and  the  public  much  in  the  dark  as  to  its  real  meaning." 

Ibsen,  Henrik.    Enemy  of  the  people. 

The  hero,  Dr.  Stockholm,  simply  tells  the  truth  he  has 
discovered  in  regard  to  the  corruption  of  some  mineral 
waters  that  have  brought  visitors  and  prosperity  to  a  little 
town  in  Norway.  "  The  strongest  man  is  he  who  stands  most 
alone"  is  a  quotation  which  reveals  Ibsen's  opinion  that 
civilization  is  a  detriment  to  individual  character.  The 
drama  is  clever,  powerful  and  impressive,  and  has  found 
much  favor  on  the  stage. 

Reviewed  in  Athenaeum,  Ap.  5,  1902,  i :  444. 


Ibsen,  Henrik.     Feast  at  Solhaug. 

A  short,  historical  drama,  one  of  Ibsen's  early  works. 
"  The  theme  is  fate's  disentanglement  of  a  young  knight 
from  the  net  wound  round  him  by  the  first  fancy  he  has 
aroused  in  a  woman's  heart.  .  .  .  The  play  is  young,  it 
affects  the  senses  like  youthful,  emotional  music  and  youth- 
ful experiences  must  lie  behind  it."  Brandes'  Ibsen,  p.  92-3. 

Ibsen,  Henrik.    Ghosts. 

Anatole  France  says,  "  If  the  will  of  those  who  are  no 
more  is  to  be  imposed  upon  those  who  still  are,  it  is  the  dead 
who  live,  and  the  live  men  who  become  the  dead  ones." 
Such  an  idea  of  heredity  is  the  motive  of  this  painfully 
wrought  and  intensely  revolutionary  play.  It  is  significant 
in  the  way  it  preserves  the  unity  of  time,  concentrating  into 
a  single  day  the  culminating  point  of  an  action  that  has 
been  going  on  for  years. 

Reviewed  in  Moore,  George,  Impressions  and  Opinions, 
1891,  p.  215-26;  Poet-lore,  6:356;  Saturday  Rev.,  July  3, 
1897,  84:  12-14,  by  G.  B.  Shaw;  Athenaeum,  Ap.  5,  1902, 
i  :  444,  by  N.  Hapgood  ;  Nation,  Feb.  10,  1887,  44  :  116-7. 

Ibsen,  Henrik.     Hedda  Gabler. 

Amid  the  wealth  of  symbolism  in  this  play  whose  every 
line  has  a  subtle  significance.  Ibsen  symbolizes  his  own 
gloomy  style  in  the  action  of  Hedda  when  she  has  the  cur- 
tain drawn  to  exclude  the  sunlight.  It  is  the  sunless  side  of 
things  that  one  sees  in  this  as  in  all  his  plays.  The  plot 
develops  with  precision  and  force  while  the  char- 
acters pursue  their  destinies  in  such  wise  as  might  the  eye- 
less fish  in  a  subterranean  cavern. 

Reviewed  in  Fortnightly  Rev.,  Jan.,  1891,  55:  4-13,  by 
Edmund  Gosse. 

Ibsen,  Henrik.    John  Gabriel  Borkman. 

Published  also  by  Stone  &  Kimball.  198  p.  D.  N.Y.,i897- 
$1.50.  (Green  tree  library.)  Tr.  by  William  Archer. 

Mr.  Huneker  speaks  of  the  simple,  logical  structure,  the  un- 
flinching criticism  of  life  and  the  perfection  of  the  character 
drawing  and  dialogue. 

Reviewed  in  National  Mag.,  8  :  120;  Poet-lore,  9  :  302-6; 
ii  :  116 ;  Saturday  Rev.,  82  :  654. 

Ibsen,  Henrik.     Lady  from  the  sea. 

In  spite  of  its  obscure  symbolism  this  drama  is  full  of  the 
most  poetic  fancy.  It  deals  with  the  old  theme  that  only 
through  law  are  won  the  ideals,  freedom  and  happiness,  a 
theme  developed  in  the  main  by  the  use  of  most  common- 
place and  vulgar  actualities. 
Reviewed  in  Westminster  Rev.,  July,  1902,  158  :  105-6. 

Ibsen,  Henrik.    Lady  Inger  of  Ostrat. 

An  historic  melodrama  with  a  gloomy  castle,  spectral 
pictures  and  secret  passages  that  make  a  setting  distinctly 
Maeterlinckian.  There  are  in  addition  shifting  conspiracies, 
distorted  characters  and  constant  mystery.  The  outworn 
expedient  of  much  soliloquy  to  convey  information  is  here 
used  to  an  excess  that  we  find  in  few  of  his  social  dramas. 
An  improbable  plot  but  an  actable  play,  produced  in  1855. 

IS 


Ibsen,  Henrik.     League  of  youth. 

The  singeing  satire  upon  democracy  interests  American 
readers.  Ibsen's  feelings,  though  here  they  are  rarely  well 
moderated,  are  clearly  cast  with  the  figure  Bratsberg,  who, 
in  league  with  the  past,  looks  askance  upon  the  struggles 
and  motives  of  Norway's  political  parties.  The  play  excels 
in  easy  dialogue  and  the  grasp  the  author  has  upon  the 
several  characters. 

Ibsen,  Henrik.      Little  Eyolf. 

Published  also  by  Stone  &  Kimball.  164  p.  D.  Chic.,  1804. 
(Green  tree  library.)  Tr.  by  William  Archer. 

Represents  the  spectacle  of  a  handful  of  people  all  making 
the  worst  of  everything.  Ibsen's  characteristic  use  of  sug- 
gestion is  here  carried  to  an  extreme,  but  it  contributes  to 
the  strong  atmospheric  effect  which  is  the  most  marked 
feature  of  the  play.  Mystery  and  the  secret  ways  of  fate  t 
form  the  aesthetic  basis  of  the  theme,  and  the  difficult  feat 
is  accomplished  of  presenting  horror  in  the  sunshine.  A 
loveless  marriage  is  the  problem. 

Reviewed  in  Stevens,  G.  W.,  Things  Seen  ;  Fortnightly 
Rev.,  63  :  277-84,  by  W.  L.  Courtney ;  Saturday  Rev.,  1896, 
82  :  563,  623,  by  G.  B.  Shaw  ;  Dial,  Jan.  i,  1895,  18  :  5-6,  by 
W.  M.  Payne;  Dublin  Rev.,  Jan.,  1895,  I2°  :  112-25,  by  A.  S. 
Spender. 

Ibsen,   Henrik.      Love's    comedy. 

Published  also  byScribner,  N.  Y.,  1900.  $1.40.  Tr.  by  C. 
H.  Herford,  William  Archer  and  Edmund  Gpsse. 

The  scene  is  laid  in  a  fashionable  pension  in  the  suburbs 
of  Christiania.  The  theme  is  a  defense  of  rational  marriage 
as  opposed  to  a  marriage  of  inclination.  This  first  of  the 
three  great  satiric  dramas  in  verse  has  much  lyrical  beauty 

and  force,  but  slight  dramatic  interest  due  to  its  burden  of 
philosophy  and  the  tedious  movement.  George  Brandes 
and  P.  H.  Wicksteed  among  critics  have  each  met  its 
puzzles  in  interesting  argument.  This  is  a  brilliant  trans- 
lation to  which  is  added  a  valuable  critical  estimate. 
Reviewed  in  Athenaeum,  June  16,  1900,  i  :76a-3 ;  Academy, 


June  23,  1900,  58  :  527-8 ;  Fortnightly  Rev.,  Feb.,  1900,  73: 191- 
9,  by  C.  H.  Herford  ;  Fortnightly  Rev.,  Jan.,  1873,  19  :  77-88, 
by  Edmund  Gosse. 
Ibsen,  Henrik.      (The)  master  builder;    a  play  in  3  acts. 

Published  also  by  Heinemann,  new  ed.  256  p.  D.  Lond., 
1893.  2s.  6d.  Tr.  by  E.  W.  Gosse  and  William  Archer. 

Brandes  writes,  "  This  is  a  play  that  echoes  and  re-echoes 
in  our  minds  long  after  we  have  read  it.  ...  Great  is  its  art, 
profound  and  rich  is  its  symbolic  language  .  .  .  Ibsen's  in- 
tention is  to  give  us  by  means  of  real  characters,  but  in  half- 
allegorical  form,  the  tragedy  of  a  great  ambitious  artis- 
whose  ideals  can  never  be  realized  even  though  he  is  successt 
ful." 

Reviewed  in  Saturday  Rev.,  Mar.  4,  1893,  75  :  241 ;  Specta- 
tor, Mar.  4,  1893,  70  :  285  ;  Poet-lore,  12  :  95. 

Ibsen,  Henrik.    Peer  Gynt. 

A  masterpiece  of  poetic  drama ;  a  piece  of  world-litera- 
ture into  whose  lines  one  can  read  new  and  ever  new  mean- 
ings, and  even  his  own  meanings  that  please  him  best. 

The  typical  Norseman  is  satirized  in  the  hero,  a  man  of 
dreams  and  idle  in  action ;  a  cynically  indifferent,  selfish. 

16 


ne'er-do-weel,  who,  like  Brand,  pursues  a  motto  "  to  be  him- 
self," but  does  it  in  contrast  by  giving  Self  its  wildest  satis- 
faction. The  heroine,  Solyeig,  drawn  in  perfect  antithesis 
to  the  hero,  is  most  appealing.  Prominent  critics  disagree 
as  to  whether  the  ethical  problem  has  or  has  not  been  solved 
in  the  romantic  ending.  Peer  Gynt's  own  lively  wit  and 
imagination  add  charm  and  distinct  vitality. 

Reviewed  in  Couch,  A.  T.  Quiller-,  Adventures  in  Crit- 
icism, 1896,  p.  283-96 ;  Saturday  Rev.,  Sep.  19,  1896,82:321; 
Contemporary  Rev.,  56:274,  by  P.  H.  Wicksteed ;    Book- 
man, 3  =  535. 
Ibsen,  Henrik.     Pillars  of  society. 

An  attack  upon  the  hypocrisy  and  snobbishness  of  Consul 
Bernick,  local  magnate  of  a  provincial  Norwegian  town.  He 
may  be  said  to  typify  the  merchant-class-supporters  of  a 
community,  who  are  lined  up  like  whited  sepulchres.  The 
plot  is  simple  and  the  art  grim,  yet  there  is  dramatic  interest 
in  the  swift  action,  biting  sarcasm  and  skilful  grouping  of 
incidents. 

Reviewed  in  Saturday  Rev.,  May  18,  1901,  91  :  631,  by  M. 
Beerbohm. 
Ibsen,  Henrik.    The  Pretenders. 

The  theme  is  the  struggle  for  the  vacant  throne  of  Sverre 
in  the  romantic  epoch  of  the  thirteenth  century  in  Nor- 
wegian history.  Boyesen  calls  it  "  highly  impressive  as  an 
acting  drama ;  written  with  true  dramatic  instinct  which 
concentrates  the  action  and  dispenses  with  all  superfluous 
dialogue.  It  shows  Ibsen's  familiarity  with  the  stage  both 
as  stage  manager  and  artistic  director." 
Ibsen,  Henrik.  Rosmersholm. 

Several  characters  of  the  savage,  free,  northern  type 
dreamily  aspire  to  moral  liberty.  The  subtle  psychology  of 
the  problem  enshrouds  the  reader  with  perplexity  and 
gloom.  So  slight  are  the  incidents  and  details  and  so  bare 
the  chance  of  an  actor's  right  interpretation  of  such  strangely 
real  and  unreal  people  that  the  drama  may  well  be  reserved 
for  mere  closet  reading. 

Reviewed  in  Nation,  Mar.  12,  1891,  52  :  216-7,  by  E.  R. 
Pennell ;  Saturday  Rev.,  Feb.  28,  1891,  71  :  258. 

Ibsen,  Henrik.     Vikings  at  Helgeland. 

The  character  of  the  author's  earlier  work  is  to  be  noted 
in  this  saga-like  drama.  Romance,  blood,  fate  and  tragic 
pathos  move  its  legendary  though  life-like  characters. 

Reviewed  in  Athenaeum,  Ap.  25,  1903,  121  :  539-40. 

Ibsen,  Henrik.  When  we  dead  awaken ;  a  dramatic 
epilogue  in  3  acts. 

Published  also  by  Stone  &  Kimball.  157  p.  D.  Chic.,  1900. 
(Green  tree  library.)  Tr.  by  William  Archer. 

This  last  of  Ibsen's  great  prose  dramas  has  a  familiar 
motive  closely  related  to  the  artist's  career  in  The  Master 
Builder.  "  Life  without  love,  even  the  most  artistic,  is  to 
be  counted  as  death,"  and  about  the  sculptor  Rubek  is  drawn 
a  drastic  picture  of  the  kind  of  death  that  life  without  love 
assuredly  is.  A  play  of  engaging  interest  and  masterly 
work.  Intended  for  reading  rather  than  acting. 

Reviewed  in  Fortnightly  Rev.,  Ap.,  1900,  73  :  575-90,  by.  J. 
A.  Joyce;  Academy,  Ap.  14,  1900,  58  :  307-8;  Nation,  Feb.  i, 
1900,  70  :  94,  by  W.  M.  Payne;  Athenaeum,  Ap.  7,  1900,  1:442. 


Ibsen,  Henrik.     (The)  wild  duck. 

This  wild  drake  kept  in  a  garret  in  a  tamed  state  is  the 
image  of  a  man  born  to  liberty,  but  condemned  by  accidents 
of  civilization  and  the  acquired  weakness  of  his  nature  to 
live  in  servitude  and  darkness.  Here  again  we  see  clearly 
the  tyranny  of  Ibsen's  "ideal-demand"  as  it  appears  in 
Rosmersholm  and  Enemy  of  the  People.  Considered  dramat- 
ically there  is  masterly  character  drawing,  but  an  unhappy 
mixture  of  satire  and  tragedy  as  well  as  a  lack  of  skill  in 
effecting  climaxes. 

Ibsen,  Henrik.  Young  men's  league:  tr.  by  Henry  Car 
starphen ;  ed.  by  Edmund  Gosse.  Bost.,  1900.  W.  H. 
Baker.  Pap.  250. 

Criticism. 

Archer,  William.  Ibsen  and  English  criticism.  (See 
Fortnightly  Rev.,  July,  1889,  52:  30-7.) 

Ibsen's  notable  translator  here  discusses  whether  or  not 
his  plays  will  ever  find  a  permanent  place  on  the  English 
stage. 

Archer,  William.  (The)  real  Ibsen.  (See  International 
Mo.,  Feb.,  1901,  3:  182-201). 

A  biographical  sketch  of  real  value,  with  incidental  com- 
ments on  the  beauty  of  Ibsen's  verse  in  the  original  tongue. 
Boyesen,  Hjalmar  Hjorth.  (A)  commentary  on  the 
works  of  Henrik  Ibsen.  317  p.  D.  Lond.,  1894. 
Heinemann,  75.  6d.  net. 

This  distinguished  Scandinavian  critic  has  compressed  in 
a  notable  introduction  and  several  chapters  the  pith  of 
Ibsen's  social  ideas.  His  analysis  is  chiefly  distinguished 
by  a  happy  mixture  of  quick  perception,  generous  apprecia- 
tion and  good  common  sense.  The  style  is  easy  and  vivid, 
but  shows  evidence  of  hurried  construction  and  examples  of 
poor  translation. 

Reviewed  in  Dial,  Ap.,  1894,  16 :  236,  by  W.  M.  Payne; 
Academy,  Ap.,  1894,  286:  Spectator,  May,  1894,  72:652; 
Saturday  Rev.,  78 :  359 ;  Critic,  25  :  119. 

Brandes,  Georg  Moritz  Cohen.     Henrik  Ibsen.     (See  his 
Eminent  authors  of  the  igth  century.    1886.    p.  405-60.) 
A  masterful  analysis,  worth  everything  else  that  has  been 
written  in  English  concerning  Ibsen.    Nation. 

Brandes  is  a  profound  admirer  of  Ibsen  as  well  as  an 

ardent  advocate  of  the  modern  spirit  for  which  Ibsen  stands. 

Brandes,  Georg  Moritz  Cohen.     Henrik  Ibsen  ;  Bjornst- 

jerne  Bjornspn;    critical  studies.     171  p.  O.      N.  Y., 

1899.     Macmillan,  $2.25. 

Reviewed  in  Academy,  July,  1899,  57  :  79-80;    Athenaeum, 
Aug.,  1899,  2:202;   Spectator,  July,  1899,  83:25;    Nation, 
69  :  340 ;  Dial,  Nov.,  1899,  27  :  314,  by  W.  M.  Payne. 
Brochner,  Jessie.      Henrik  Ibsen.      (See  Bookman,  Oct., 
1903,  18: 180-9.) 

Presents  the  personal  side  of  Ibsen.  Of  value  for  its  5  or 
6  wood-cut  pictures. 

18 


Butler,  A.  Maynard.  View  of  Ibsen.  (See  Contem- 
porary Rev.,  May,  1902,  81  :  709-19.) 

Attempts  to  define  Ibsen's  present  status  and  gives  brief 
comments  on  each  play. 

Crawfurd,  Oswald.      The  Ibsen  question.       (See   Fort- 
nightly Rev.,  May,  1891,  55  :  723-40.) 
The  question  is  popularly  covered,  giving  the  Ibsen  point  of 
view,  a  sketch  of  his  life  and  short  ethical  interpretations  of 
the  plays. 

Ellis,  Havelock.  Ibsen.  (See  his  The  new  spirit.  Ed.  3. 
1892.  p.  I33-I73-) 

Evans,  Edward  Payson.  Henrik  Ibsen ;  his  early  career 
as  poet  and  playwright.  (See  Atlantic  Mo.,  May, 
1890,65:577-88.) 

Garland,  Hamlin.  Ibsen  as  a  dramatist.  (See  Arena, 
June,  1890,  2:  72-82.) 

Garland,  Hamlin.  Influence  of  Ibsen.  (See  his  Crum- 
bling idols.  1894.  p.  99.) 

"In  12 essays,  full  of  sound,  inspiring  thought,  Mr.  Gar- 
land shows  himself  a  clear-sighted  critic  and  a  hopeful 
prophet." 

Reviewed  in  Dial,  July  i,  1894,  17  :  11,  by  E.  E.  Hale^Jr. ; 
Nation,  July  19,  1894,  59  :  53;  Critic,  Sep.  15,  1894,  25  : 169. 

Gosse,  Edmund  William.  Henrik  Ibsen.  (See  his 
Studies  in  the  literature  of  northern  Europe.  1883. 
P-  35-69.) 

The  enlargement  of  an  article  printed  in  the  Fortnightly 
Rev.,  Jan.,  1873,  19  :  74-88.  Published  also  in  his  Northern 
Studies,  1890.  p.  38-104. 

Gosse,  Edmund  William.  Ibsen's  social  dramas.  (See 
Fortnightly  Rev.,  Jan.,  1889,  51  :  107-21.) 

An  excellent,  discriminating  critique.  Lighter  in  treat- 
ment than  Brandes. 

Hapgood,  Norman.  Ibsen.  (See  his  Stage  in  America, 
1897-1900.  1901.  p.  206-18.) 

Some  thoughtful  interpretation  of  Ibsen's  dramas  as  pro- 
duced on  the  American  stage. 

Henderson,  Archibald.  Henrik  Ibsen  and  social  pro- 
gress. (See  Arena,  Jan.,  1905,  33  : 26-30.) 

Herrmann,  Oscar.  Living  dramatists:  Pinero,  Ibsen, 
D'Annunzio;  introduction  by  Will  W.  Massee.  187  p. 
O.  N.  Y.,  1905.  Brentano,  $5  net. 

Ibsen  and  his  translators.  (See  Nation,  Jan.  23,  1890,  50 : 
67-8.) 

The  Nation  considers  that  most  of  the  notices  of  transla- 
tions of  Ibsen  that  have  appeared  in  American  journals  up 
to  1890  are  ignorant  and  valueless  plagiarisms  of  English 
reviews. 

Jaeger,  Henrik  Bernhard.  Henrik  Ibsen,  a  critical  biog- 
raphy [tr.]  from  the  Norwegian  by  W.  M.  Payne. 
Ed.  2.  320  p.  illus.  O.  Chic.,  1901.  McClurg,  $1.50  net. 


Ibsen's  literary  works  strung  in  the  order  of  their  appear- 
ance upon  the  thread  of  his  personal  career.  Chiefly  valu- 
able for  the  account  of  his  early  life. 

Reviewed  in  Dial,  June  i,  1902,32:  16-7,  by  W.  H.  Carruth. 
James,  Henry.  Henrik  Ibsen.  (See  his  Essays  in  Lon- 
don and  elsewhere.  1893.  p.  230-52.) 

This  essay  is  distinguished  by  the  subtle  observations, 
delicate,  critical  shadings  and  pointed,  clever  style  so  char- 
acteristic of  Mr.  James.  In  the  few  pages  on  Ibsen,  the 
author  is  pointedly  on  the  side  of  the  angels,  in  that  he  con- 

/siders  only  Ibsen's  successes  as  a  dramatist  and  ignores  the 
prevalent  question  of  his  "  morality  and  immorality." 
A  Reviewed  in  Athenaeum,  July  29,  1893,  2:  158;    Nation. 

Nov.  30,  1893,  57  :  416. 

Knorr,  Helena.  Ibsen  and  the  ethical  drama  of  the 
nineteenth  century.  (See  Poet-lore,  Jan.  -Mar.,  1898, 
10  :  49-65.) 

Traces  the  evolution  ot  the  ethical  drama  through  its 
earlier  representatives:  Dumas,  Angier  and  Ibsen,  with 
Ibsen  as  its  master. 

Lord,  Walter  Frewen.  Works  of  Henrik  Ibsen.  (See 
Nineteenth  century,  Aug.,  1889,  26:  241-56.) 

A  faint  outline  of  the  plays,  considered  in  chronological 
order. 

Matthews,  Brander.  Ibsen  the  playwright.  (See  Book- 
man, Feb.,  1906,  22  :  568-75  ;  Mar.,  1906,  23  :  18-27.) 

An  interesting  summary  with  especial  attention  given  to 
the  stage  success  of  the  plays. 

Monkhouse,  Allan.  Ibsen's  social  plays.  (See  his  Books 
and  plays.  1894.  p.  155-185.) 

Reviewed  in  Spectator,  Aug.,  1894,73:242-3;    Literary 
world,  Sep.  8,  1894,  25  :  282  ;  Academy,  Oct.,  1894,  46  :  252. 
Nordau,  Max.    Ibsenism.    (See  his  Degeneration.    Ed.  5. 
1895.    p.  338-4I5-) 

Nordau  has  undertaken  to  prove  in  a  scientific  and  elabo- 
rate argument  that  a  large  percentage  of  society  has 
developed  a  taste  for  the  inferior  in  art  and  music  and  the 
depraved  and  filthy  in  literature,  and  that  authors  .  .  . 
who  furnish  the  supply  are  morally  and  mentally  degen- 
erate. Critic. 

Original,  violent  in  language  and  "  as  brilliant  as  it  is  pig- 
ded. 


hea 

by  Kenyon  Cox  ;    Bookman,  i  :  178  ;  Saturday  Rev. 


Reviewed  in  North  American  Rev.,  June,  1895,  J6o  :  735-40, 

R 


y  enyon  ox  ;  ooman,  i  :  17  ;  aturay  ev.,  ar.  9, 
1895,  79  :  323  ;  Dial,  Ap.  16,  1895,  18  :  236,  by  E.  E.  Hale,  Jr.  ; 
Nation.  60  :  327. 

Payne,  William  Morton.  Henrik  Ibsen.  (See  Outlook 
May  24,  1902,  71  :  240-7.) 

Schofield,  William  Henry.  Personal  impressions  of 
Bjornson  and  Ibsen.  (See  Atlantic  Mo.,  Ap.,  1898, 
81  :  567-73-) 

A  study  of  Ibsen  in  contrast  with  his  great  contemporary, 
Bjornson,  by  a  great  philologist  who  has  studied  in  Christ  - 
iania. 


Shaw,  George  Bernard.  Quintessence  of  Ibsenism. 
170  p.  D.  Bost.  1891.  B.  R.  Tucker,  pap.  2$c. 
(Tucker's  library,  v.  i,  no.  7.) 

A  thesis  written  to  meet  the  misapprehension  of  Ibsen's 
works  by  the  members  of  the  Fabian  Society  of  London , 
who  considered  it  worse  than  eccentric  to  commend  him. 
It  treats  of  Ibsen's  moral  doctrine  rather  than  of  his  art 
or  literary  development.  It  is  immoral,  cynical  and  para- 
doxical, but  stimulates  one's  desire  to  read  more  deeply  into 
Ibsen's  philosophy. 

Reviewed  in  Nation,  Oct.  6,  1904,  79:  282. 

Simons,  L.  Ibsen  as  an  artist.  (See  Westminster  Rev., 
Nov.,  1893,  140:506-13.) 

Art  criticism  applied  to  The  Master  Builder,  Lady  from 
the  sea  and  Rosmersholm. 

Stampenbourg,  Baron  de.  (The)  passing  of  Ibsen.  (See 
Independent,  Nov.  7,  1901,  53:2630-3.) 

Wicksteed,  Philip  H.  Four  lectures  on  Henrik  Ibsen 
dealing  chiefly  with  his  metrical  works.  Ed.  2.  112  p. 
S.  Lond.,  1892.  Sonnenschein,  28.  6d. 

Invaluable  lectures,  including  some  representative  selec- 
tions from  Ibsen's  works. 

Winter,  William.  (The)  Ibsen  drama.  (See  his  Shadows 
of  the  stage.  Series  3.  1895.  p.  330-7.) 

Mr.  Winter  accords  scant  praise  to  Ibsen  as  a  dramatist. 
"  His  plays  have  too  little  action  to  qualify  them  for  the 
stage  —  are  too  commonplace  and  insipid  to  take  rank  as 
literature. " 

MAETERLINCK. 

Maeterlinck,  Maurice.  Plays;  tr.  by  Richard  Hovey. 
2  v.  D.  Chic.,  1896-1902.  Stone  &  Kimball,  $1.25  ea. 
(Green  tree  library.) 

Contents:  — 
V.  i.    Princess  Maleine. 
The  intruder. 
The  blind. 

The  seven  princesses. 
V.  2.    Alladine  and  Palomides. 
PelleasandMelisande. 
Home. 

The  death  of  Tintagiles. 
Reviewed  in  Critic  26:379;  Literary  World,  26 : 68. 

Maeterlinck,  Maurice.  Aglavaine  and  Selysette ;  a 
drama  in  5  acts,  tr.  by  Alfred  Sutro.  172  p.  O.  Lond., 
1897.  Richards,  35.  6d.  net. 

Published  also  by  G.  Allen,  no  p.  O.  Lond.,  1904.  is. 
net.  Acting  version. 

A  modern  wrestle  with  the  old  story  of  Platonic  friendship. 
Aglavaine,  a  high  minded  and  cultured  girl,  shares  the  love  qf 
the  husband  of  Selysette,  the  sweet  self-belittlin:g  child-wife. 
In  the  half-spiritual  motives,  overcome  in  the  end  by  jealousy 


and  tragedy,  and  in  the  unusually  lengthy  monologues  of 
these  three  deep-souled  characters,  who  love  the  joys  of 
silence  and  all  things  ill-fitted  to  the  conventions  of  real 
living,  Maeterlinck  has  expressed  many  of  his  own  views  of 
life  and  love.  A  drama  to  be  loved  because  of  its  gentle 
pathos  and  soul-revelations  rather  than  for  its  real  dramatic 
significance. 

Reviewed  in  Westminster  Rev.,  Ap.,  1899,  151:  409-16; 
Fortnightly  Rev.,  Aug.,  1897,  68 : 185-6,  by  V.  M.  Crawford  ; 
Living  Age,  235  : 193. 

Maeterlinck,  Maurice.    Alladine  and  Palomides. 

A  love  drama  in  which  all  the  moods,  the  naively  childish 
characters  and  the  bare  little  externals  of  plot  and  movement 
resemble  Pelleas  a nd  Metis ande.  It  is  a  revelation  of  the 
hidden  life.  "  Mere  words  have  no  meaning"  and  whatever 
one  sees  of  outward  things  about  the  play  seems  vague  and 
far  removed  from  actual  existence. 

Maeterlinck,  Maurice.     (The)  Blind. 

A  one-act,  one-scene  play,  in  which  a  group  of  blind  men 
helplessly  grope  about  in  a  cavern-like  forest  place,  seeking 
in  vain  for  their  guide,  a  priest  who  is  already  dead.  It 
symbolizes  a  world  of  people  lost  in  the  darkness  of  unfaith 
and  uncertain  where  to  fasten  their  reason.  The  story  is 
simply  told  by  the  picture  on  the  stage  which  the  words  of 
the  blind  men  explain  without  further  action.  One  feels  the 
artist's  touch  throughout  in  the  atmosphere  and  suggestion. 

Reviewed  in  Poet-lore,  Oct.-Dec.,  1901, 13  :  554-60,  by  E.  D. 
Daniels. 

Maeterlinck,  Maurice.     Death  of  Tintagiles. 

In  this  attempt  to  typify  the  struggle  of  human  affection 
against  death,  the  scene  is  fittingly  laid  in  the  remote  realm 
of  an  ugly,  mysterious  Queen  who  pursues  with  undying 
hatred  the  child  Tintagiles.  heir  to  her  throne.  Though  the 
setting  is  remote  and  unreal  the  theme  is  developed  with 
truthfulness  to  life  and  dramatic  power. 

Reviewed  in  Athenaeum,  June  24,  1899,  i  :  794-5. 

Maeterlinck,  Maurice.    (The)  Home. 

The  dramatic  make-up  of  this  slight  little  play  is  closely 
fashioned  after  that  of  The  Blind  and  The  Intruder,  hence 
it  is  unusual  and  unconventional  —  a  play  of  situations  and 
dramatic  suggestiveness  in  which  the  interest  centers  in  the 
rescuers  of  a  drowned  girl,  who  loiter  outside  and  pityingly 
watch,  through  the  closed  shutters  of  a  window,  the  little 
family  group  to  whom  they  must  break  the  painful  news. 

Reviewed  in  Critic,  June  22,  1895,  26:451-3,  by  Israel 
Zangwill. 

Maeterlinck,  Maurice.     (The)  Intruder. 

Artful  in  its  beautiful  execution  and  in  the  subtle  hold  it 
has  upon  the  attention,  this  play  needs  only  to  be  read  aloud 
to  reveal  its  dramatic  effectiveness.  The  invisible  intruder 
is  Death.  The  action  centers  in  the  death  of  a  sick  woman 
who  does  not  appear  at  all  in  the  play.  Meanwhile  a  family 
group  sit  about  a  waning  lamp  and  converse  in  a  homely 
realistic  way.  The  symbolism,  atmosphere  and  the  use  of 
simple,  poetic  words  make  one  feel  the  awful  presence  of 
Death.  It  represents  his  most  characteristic  work  in  drama. 

22 


Reviewed  in  Caine,  Hall,  Introduction  to  Maeterlinck's 
Princess  Maleine,  tr.  by  William  Wilson,  1892,  p.  8-19; 
Fortnightly  Rev.,  Sep.,  1891,  56  ;  346-54,  by  William  Archer. 

Maeterlinck,  Maurice.  Joyzelle;  a  drama  in  5  acts,  tr.  by 
Clarence  Stratton.  (See  Poet-lore,  1905,  16: 1-45.) 

As  the  author  expresses  the  motive,  "  it  is  the  triumph  of 
love  and  will  over  fatality. "  In  its  vague  dealing  with 
unseen  powers  and  justice  it  resembles  his  later  work,  Monna 
Vanna,  though  in  comparison  it  is  a  more  commonplace 
drama,  inferior  in  its  style  and  distasteful  in  its  subject. 
Reviewed  in  Fortnightly  Rev.,  July,  1903,  80:76-87,  by 
M.  A.  Gerothwohl;  Critic,  Aug.,  1903,  43:  114-5,  by  Grace 
Corneau. 

Maeterlinck,  Maurice.  Monna  Vanna  ;  a  play  in  3  acts, 
tr.  by  A.  I.  D.  Coleman.  143  p.  O.  N.  Y.,  1904. 
Harper,  $1.20  net. 

The  scene  is  laid  at  Pisa  at  the  close  of  the  i5th  century 
when  Pisa,  as  an  ally  of  Venice,  was  beseiged  by  the  Floren- 
tines. The  motive  is  the  heroism  of  a  pure-minded  woman 
who  sacrifices  herself  for  the  city,  and  discovers  the  differ- 
ence between  the  love  and  perfect  trust  of  her  captor  and  the 
cruelty  and  jealousy  shown  by  her  husband.  Without  being 
a  masterpiece  or  possessing  any  great  dramatic  power  it 
abounds  in  imagination  and  delicate  literary  touches.  The 


Reviewed  in  Dial,  Oct.  16,  1903,  35  :  257-8,  by  E.  E.  Hale, 
Jr. ;  Nation,  Oct.  15,  1903,  77  1307;  Athenaeum,  June  28,  1902, 
1:827;  Nineteenth  Cent.,  July,  1902,  52:72-5,  282-91;  Fort- 


nightly Rev.,   Aug.,   1902,  78:    183-6,   by    L.    A.    Tadema ; 
Harper's  Weekly.  Nov.  11,   190 
1902,  16  : 46-9,  by  F.  T.  Cooper. 


Harper's  Weekly,  Nov.  n,   1905,  49:1640;    Bookman,  Sep., 


Maeterlinck,  Maurice.     Peleas  and  Melisande. 

Old  forgotten  castles,  haunted  forests  and  mysterious 
black  pools  make  a  romantic  setting  for  this  modern  revision 
of  the  historic  Da  Rimini  story.  The  characters  are  dim  and 
confused,  more  abstract  than  vital,  and  hidden  meanings 
crowd  each  scene,  yet  the  play  is  suggestive  of  life  in  its 
passion  and  profound  dramatic  truth. 

Reviewed  in  Archer,  William,  Study  and  the  stage, 
J899,  p-  133-7;  Symons,  Arthur.  Plays,  acting  and  music, 
1903  ;  Dial,  18:  174,  by  E.  E.  Hale,  Jr. 

Maeterlinck,  Maurice.  Princess  Maleine ;  a  drama  in  5 
acts,  tr.  by  Gerard  Harry,  and  The  intruder,  a  drama 
in  i  act,  based  on  a  tr.  of  William  Wilson  ;  with  an 
introduction  by  Hall  Caine.  255  p.  D.  Lond.,  1892. 
Heinemann,  53. 

.  Savage  and  violent  love  and  tragedy.  Terror  is  the  key- 
note that  fills  the  air  about  the  murky  palace,  its  hideous 
royalty  and  the  unfortunate  Maleine.  The  action  has  little 
sequence.  A  fateful,  mysterious,  shuddering  mood  grows 
more  and  more  tense  till  a  ridiculously  cyclonic  climax  is 
reached.  Many  commentators  refer  to  it  as  a  "  Shakespeare 
anthology"  by  reason  of  its  marked  likeness  to  various  parts 
of  Hamlet,  Macbeth  and  Lear. 

Reviewed  in  Caine,  Hall,  Introduction  to  Maeterlinck's 
Princesse  Maleine,  tr.  by  Gerard  Harry,  1892,  p.  1-8 ;  Critic, 
June  22, 1895,  26  :  451-3,  by  Israel  Zangwill ;  Academy,  Mar. 

23 


IQ,  1892,  41 :  270-2,  by  William  Sharp:  Fortnightly  Rev.,  Sep., 
1891,  56 :  346-54,  by  William  Archer. 

Maeterlinck,  Maurice.  (The)  seven  princesses;  tr.  by 
Charlotte  Porter  and  Helen  A.  Clarke.  (See  Poet- 
lore,  1894,  6:29-32;  87-93;  150-61.) 

A  romantic  story  with  some  poetical  quality,  showing  the 
playwright's  pronounced  originality  and  independence.  The 
setting  is  not  to  be  placed  in  any  particular  locality,  but  is 
the  ever- dilapidated  castle  of  most  of  his  plays  and  an  old 
king  and  queen  who  typify  the  past.  Finely  earnest  scenes 
follow  weak  and  flabby  ones  in  an  unsatisfactory  way  ;  some- 
times tragical,  sometimes  ridiculous,  and  with  an  amusing 
repetition  of  phrase.  While  the  play  g^ves  no  impression  of 
preaching  a  moral  lesson  there  is,  lurking  back  of  every  line 
and  incident,  a  hidden  meaning  suggesting  greater  and 
deeper  things. 

Maeterlinck,  Maurice.  Sister  Beatrice  and  Ardiane  and 
Barbe  Bleue ;  two  plays  tr.  into  English  verses  from 
the  manuscript,  by  Bernard  Miall.  183  p.  D.  N.  Y., 
1902.  Dodd,  $1.20  net. 

A  simple,  unforced  translation,  the  former  in  blank  verse, 
the  latter  in  irregular  rhymed  verse.  Sister  Beatrice  is 
slight,  without  the  subtlety  of  meaning  or  the  strangeness  of 
atmosphere  that  are  characteristic  of  most  of  the  author's 
work. 

Mr.  Hale  correctly  describes  Ardiane  and  Barbe  Bleue 
as  a  sort  of  commentary  on  Maeterlinck  by  reason  of  its  sub- 
jectively explanatory  nature.  "  Truth  is  not  found  in  the 
beaten  path  of  humanity  but  in  the  secret  depths  of  the  soul 
where  it  is  locked  by  the  force  of  worldly  authority,  conven- 
tion, tradition  and  prudery."  This  doctrine  is  exemplified 
in  Ardiane,  when  she  insists  that  of  all  the  keys  that  Blue- 
beard has  given  her,  the  only  one  of  value  is  the  forbidden 
one. 

Reviewed  in  Athenaeum,  May  3,  1902,  i :  554-5 ;  Critic, 
Sep.,  1902,  41:275. 

Criticism. 

Archer,  William.  Maeterlinck  as  a  pessimist  playwright. 
(See  Fortnightly  Rev.,  Sep.,  1891,  56  :  346-54.) 

Burton,  Richard.     Maurice  Maeterlinck ;    a  dramatic  im- 
pressionist.    (See  Atlantic  Mo.,  Nov.,  1894,  74 : 672-80.) 
A  description  of  the  dramatist's  peculiar  qualities  as  re- 
vealed in  his  various  plays,  with  the  addition  of  some  con- 
clusions formed  by  the  writer. 

Campbell,  Janey  Sevilla.  Impressional  drama.  (See 
Nineteenth  Cent.,  Aug.,  1905,  58:204-13.) 

To  quote  the  writer,  "  There  is  a  tendency  of  thought 
toward  a  psychical  interpretation  of  life,"  and  Maeterlinck 
in  his  Pelleas  and  Melisande  is  cited  as  an  illustration. 

Chesterton,  Gilbert  Keith.  Maeterlinck.  (See  his  Varied 
types.  1903.  p.  209-14.) 

Reviewed  in  Nation,  Dec.  24,  1903,  77  :  509;  Atlantic  Mo., 
Sep.,  1904,  94 :  423-4 ;  Athenaeum,  Dec.  27,  1902,  2  :  845-6. 

24 


Courtney,  William  Leonard.  Development  of  Maurice 
Maeterlinck  and  other  sketches  of  foreign  writers. 
Lond.,  1904.  Richards,  35.  6d.  net. 

The  " other  foreign  writers"  include  Rodenbach,  Huys- 
mans,  D'Annunzio,  Turgenieff,  Tolstoi  and  Gorky.  Mr. 
Courtney  is  sympathetic  and  acute  in  his  interpretation 
of  Maeterlinck's  philosophy  and  development. 

Reviewed  in  Contemporary  Rev.,  Sep.,  1904,  86:452-5; 
Athenaeum,  July  10,  1904,  2  :  70. 

Crawford,  Virginia  M.  Maurice  Maeterlinck.  (See  her 
Studies  in  foreign  literature.  1899.  p.  139-74.) 

Clearly  written,  enthusiastic  and  fairly  thoughtful  essays 
on  the  symbolists. 

Reviewed  in  Bookman,  Mar.,  1900,  11:89-90;  Nation, 
Dec.  21, 1899,  69 : 472-3. 

Daniels,  E.  D.  Cursory  review  of  symbolism  in  Maeter- 
linck's "  The  Blind. ''  (See  Poet-lore,  1901,  13:554-60). 

Henderson,  Archibald.  Maurice  Maeterlinck,  symbolist 
and  mystic.  (See  Arena,  Feb.,  1906,  35  :  115-24.) 

M.  Maurice  Maeterlinck,  moralist  and  artist.  (See  Living 
Age,  July,  1901,  230:201-20.) 

Published  also  in  the  Edinburgh  Rev.,  Ap.,  1901,  193:35°- 
77- 

Maeterlinck,  Maurice.  Evolution  of  mystery;  tr.  by 
Alfred  Sutro.  (See  Fortnightly  Rev.,  May,  1900, 
73:899-921.) 

Valuable  as  Maeterlinck's  own  explanation  of  the  pre- 
dominant element  in  his  plays.  His  prose  essays  furnish  the 
best  clue  to  his  aims  and  ideals  and  the  best  method  of  un- 
raveling his  mystical  puzzles. 

Maeterlinck,  Maurice.  (The)  modern  drama;  tr.  by 
Alfred  Sutro.  (See  his  The  double  garden.  1904. 
P-  H5-35-) 

Of  valuefor  a  close  study  of  the  ideas  that  are  at  the  bottom 
of  all  his  work.  Marked  by  his  distinction  of  style  and 
freshness  of  vision.  Suggestive  if  not  convincing. 

Published  also  in  the  Cornhill  Mag.,  80:166-73;  tr.  by  A. 
T.  de  Mattos. 

Maurice  Maeterlinck.  (See  Living  Age,  Oct.,  1902, 
235:193-205.) 

Newman,  Ernest.  Maeterlinck  and  music.  (See  Atlantic 
Mo.,  Dec.,  1901,  88 :  769-77.) 

Emphasizes  the  sympathy  in  dramatic  theory  between 
Wagner,  the  musician,  and  Maeterlinck,  the  mystic. 

Nordau,  Max.  Maurice  Maeterlinck.  (See  his  De- 
generation. 1895.  p.  232-40.) 

Osgood,  Hamilton.  Maeterlinck  and  Emerson.  (See 
Arena,  Mar.,  1896,  15  : 563-73.) 

Traces  Emerson's  influence  upon  Maeterlinck. 

25 


Phelps,  Albert.  Later  work  of  Maurice  Maeterlinck. 
(See  Poet-lore,  July-Sep.,  1899,  11:357-72.) 

Discusses  the  metaphysical  ideas  of  wisdom,  destiny,  love 
and  justice  as  handled  by  Maeterlinck  in  his  essays,  and  is 
remotely  of  interest  as  a  study  of  his  plays. 

Phelps,  William  Lyon.  Maeterlinck  and  Browning. 
(See  Independent,  55  :  552-4,  1398-1400.) 

Gives  the  reasons  for  the  similarity  between  Luria  and 
Monna  Vanna^  and  a  reply  to  the  same. 

Pidoux,   Magdeleine.      Maurice  Maeterlinck    at    home 
(See  Bookman,  Jan.,  1901,  12:104-7.) 
A  good  biographical  sketch. 

Ropes,  Arthur  R.  Maeterlinck.  (See  Contemporary 
Rev.,  Mar.,  1900,  77 :  422-36.) 

This  review  may  be  summed  up  in  the  following  quota- 
tion :  "  Maeterlinck  has  suggested  much,but  achieved  little." 

Soissons,  S.  C.  de.  Maeterlinck  as  a  reformer  of  the 
drama.  (See  Contemporary  Rev.,  Nov.,  1904,  86 :  699- 
708.) 

A  staunch  defense  of  Maeterlinck  against  his  would-be 
critics. 

Steiner,  Edward  A.  A  visit  to  Maeterlinck.  (See  Out- 
look, Nov.  16,  1901,  69:  701-3. 

Strang,  Lewis  C.  Sudermann  and  Maeterlinck.  (See 
his  Players  and  plays  of  the  last  quarter  of  a  century. 
1903.  v.  2.  p.  259-71.) 

Biographical  sketches  and  critical  estimates  of  the  famous 
actors  and  actresses  of  the  last  25  years. 

Symons,  Arthur.      Maeterlinck  as   a  mystic.    (See  his 
Symbolist  movement  in  literature.     1899.      p.  153-68.) 
A  subtle  book,  containing  a  number  of  charmingly  written 
essays,  fresh  and  vivid  with  the  thought  of  a  critic  who  be- 
longs as  well  to  the  school  of  symbolists. 

Reviewed  in  Athenaeum,  Mar.  24,  1900,  i :  360. 

Walkley,  Arthur  Bingham.  Maeterlinck.  (See  his 
Frames  of  mind.  1899.) 

"  Displays  a  praiseworthy  and  varied  erudition.  Illum- 
inating and  pleasant.  "  Saturday  Rev.,  115  :  40. 

Zangwill,  Israel.  Men,  women  and  books.  (See  Critic, 
June  22,  1895,  26:451-3.) 

PHILLIPS. 

Phillips,  Stephen.  Herod;  a  tragedy.  128  p.  D.  Lond., 
1901.  Lane,  $1.50. 

"  A  successful  drama  in  stately  and  beautiful  blank  verse. 
Theme,  the  conflict  between  Herod's  passionate  love  for  his 
queen  and  his  overmastering  self-love  and  ambition. " 

26 


Reviewed  in  Saturday  Rev.,  90 :  754  ;  Spectator,  Dec.  15, 
1900,85:887;  Athenaeum,  Jan.  5,  1901,  1 127  ;  Nation,  Ap.  25, 
1901,  72:343;  Atlantic  Mo.,  87:421;  Contemporary  Rev., 
Jan.,  1901,  79:32-7,  by  Stephen  Gwynn;  Fortnightly  Rev., 
Jan.,  1901,  75: 178-86. 

Phillips,  Stephen.     Nero.    200  p.  D.     N.  Y.,   1906.     Mac- 
millan,  $1.25. 

A  spectacular  drama  of  high  literary  quality  and  finished 
workmanship,  opening  with  the  murder  of  Claudius  and 
ending  with  the  burning  of  Rome. 

Reviewed  in  Academy,  Mar.,  1906,  70:223;  Spectator, 
Mar.,  1906,  96  :  426  ;  Nation,  A  p.  19,  1906,  82  : 325  ;  Fortnightly 
Rev.,  Jan.,  1906,  86^  :  83-95,  by  J.  S.  Roberts. 

Phillips,  Stephen.     Paolo  and  Francesca;  a  tragedy  in 
four  acts.     120  p.  D.     Lond.,  1903.     Lane,  $1.50. 

A  rarely  beautiful  poem  which  is  at  the  same  time  a 
fairly  good  acting  drama,  based  on  the  story  of  Paolo  and 
Francesca  as  told  by  Dante.  It  combines  in  a  remarkable 
way  the  simplicity,  unity  and  restraint  of  the  Greek  drama 
with  the  passion  and  color  of  modern  dramatic  art.  The 
whole  is  instinct  with  the  utmost  purity  and  delicacy  of 
feeling.  It  unquestionably  places  Mr.  Phillips  in  the  first 
rank  of  modern  dramatists  and  modern  poets.  Saturday 
Review. 

Reviewed  in  Ainger,  Rev.  Alfred,  Lectures  and  essays, 
v.  2,  p.  1 68-8 1 ;  Athenaeum,  Jan.,  1900,1:6;  Dial,  Jan.  16, 
1900,  28  : 49,  by  W.  M.  Payne;  Forum,  Mar.,  1900,  29:116-28, 
by  W.  P.  Trent;  Nation,  May  10,  1900,70:361;  Nineteenth 
Cent.,  Dec.,  1899,  46:915-33,  by  Sidney  Colvin  •  Saturday 
Rev.,  Dec.  9, 1899,  88  :  sup.  5  ;  Spectator,  Dec.  2, 1899,  83 : 839. 

Phillips,  Stephen.     Sin  of  David.     141  p.  D.     N.  Y.,  1904. 
Macmillan,  $1.25. 

"  A  modern  version  of  the  Hebrew  story  of  David,  Uriah 
and  Bathsheba.  Scene,  England  during  the  Cromwellian 
wars. " 

While  it  lacks  true  dramatic  fire  it  still  ranks  in  the  class 
with  Herod  and  Ulysses  for  its  purely  literary  quality. 
"  Has  the  general  air  of  being  better  designed  for  the  closet 
than  the  stage. " 

Reviewed  in  Athenaeum,  Feb.  4,  1905,  i  :  155  ;  Nation,  Jan. 
26, 1905,  80  :  72;  Spectator,  Nov.  26, 1904,  93:  837-8  ;  Dial,  Jan. 
16,  1905,38:47;  Bookman,  Feb.,  1905,  20:  554. 

Phillips,  Stephen.     Ulysses;  a  drama  in  a  prologue  and 
3  acts.    148  p.  D.    N.  Y.,  1902.    Macmillan,  $1.25. 

Selected  episodes  from  the  Odyssey  "rearranged,  re- 
imagined,  unsparingly  accelerated  and  cut  down." 

"  A  poem  that  can  be  read  (except  for  the  prologue)  with 
unalloyed  satisfaction,  and  a  play  that  deserves  to  hold  the 
stage." 

Reviewed  in  Dial,  May  i,  1902,  32  :  317  ;  Saturday  Rev., 
Feb.  22,  1902,  93:236-7;  Spectator,  Feb.  15,  1902,  88:254-5; 
Atlantic  Mo.,  A  p.,  1902,  89  :  565-7;  Bookman,  Ap.,  1902,  15: 
168-70,  by  Edith  Wharton;  Nineteenth  Cent.,  Mar.,  1902, 
51 : 434-43,  by  Stephen  Gwynn  ;  Poet-lore,  Oct.,  1902,  14  : 126. 

2? 


Criticism. 

Archer,  William.  Real  conversations  ;  Conversation  3 
with  Mr.  Stephen  Phillips.  (See  Critic,  June,  1901, 
38:504-11.) 

The  conversation  is  concerned  with  Ulysses  in  particular 
and  the  drama  in  general.  Of  uncertain  interest. 

Archer,  William.  Stephen  Phillips.  (See  his  Poets  of 
the  younger  generation.  1902,  p.  309-54.) 

Mainly  devoted  to  Phillips,  the  poet.  The  long  criticism 
of  Herod  and  Paolo  and  Francesca  is  divided  sanely  be- 
tween praise  and  fault-finding. 

Boynton,  Henry  Walcott.  Poetry  and  the  stage.  (See 
Atlantic  Mo.,  July,  1903,  92 : 120-6.) 

A  prophecy  of  the  stage  success  of  Paolo  and  Francesca. 

Gosse,  Edmund.  Revival  of  poetic  drama.  (See 
Atlantic  Mo.,  Aug.,  1902,  90  : 156-66.) 

A  cheerful  essay,  calling  attention  to  the  injudicious 
praise  that  has  been  heaped  upon  Phillips,  yet  prophesying 
a  greater  development  of  his  powers  in  the  future. 

Gosse,  Edmund.     Stephen  Phillips.     (See  Century  Mag., 
Jan.,  1901,  61 : 430-3.) 
A  personal  sketch. 

Henderson,  Archibald.  Stephen  Phillips ;  poet  and 
dramatist.  (See  Arena,  May,  1905,  33  : 474-81.) 

Mr.  Henderson's  criticisms  indicate  a  wide  and  general 
reading  along  dramatic  lines,  but  reveal  no  serious  study  of 
Phillips. 

Howells,  William  Dean.    The  new  poetic  drama.      (See 
North  American  Rev.,  May,  1901,  172  :  794-800.) 
A  comparison  of  Phillips  with  Rostand. 

Le  Gallienne,  Richard.  Poetry  of  Stephen  Phillips.  (See 
Bookman,  Mar.,  1901,  13  :  24-9.) 

Secondarily  the  article  considers  Herod  and  other 
tragedies. 

Mr.  Stephen  Phillips.     (See  Quarterly  Rev.,  195  :  486-500.) 
A  critical  and  biographical  study  of  Phillips  in  which  his 
originality,  influence,  success  in  poetic  drama  and  the  reasons 
for  his  popularity  are  discussed. 

Published  also  in  Living  Age,  June,  1902,  233 :  641-50. 

Porter,  Charlotte.  Phillips's  "Paolo  and  Francesca" 
and  Swinburne's  "  Rosamund.  "  (See  Poet-lore,  Jan.- 
Mar.,  1900,  12: 126-36.) 

Recent  British  poetry.     (See  Nation,  70  : 361.) 
A  comparison  between  Swinburne  and  Phillips. 

Savage,  Ernest  A.  Stephen  Phillips.  (See  Westminster 
Rev.,  Aug.,  1901,  156  : 187-96.) 

The  dramatic  works  of  Phillips  are  criticized  at  length. 

28 


Symons,  Arthur.  Mr.  Stephen  Phillips.  (See  his  Studies 
in  prose  and  verse.  1904.  p.  242-60.) 

A  significant  book  of  criticism  by  a  distinguished  literary 
critic. 

Todhunter,  John.  Blank-verse  on  the  stage.  (See 
Fortnightly  Rev.,  Feb.,  1902,  77  : 346-60.) 

Mainly  concerned  with  Stephen  Phillips.  A  close  study 
of  his  line  with  some  comparisons. 

Todhunter,  John.     Poetic  drama,   and  its  prospects  on 
the  stage.    (See  Fortnightly  Rev.,  Ap.,  1902,  77  :  713-25.) 

Makes  special  reference  to  Phillips. 

Wharton,  Mrs.    Edith.    The    three    Francescas.      (See 
North  American  Rev.,  July,  1902,  175  : 17-30.) 
A  comparison  of  Phillips,  Crawford  and  D'Annunzio. 

Wodehouse,  E.  A.  Valuation  of  Mr.  Stephen  Phillips. 
(See  Fortnightly  Rev.,  May,  1905,  83:830-42.) 

ROSTAND. 

Rostand,  Edmond.  Cyrano  de  Bergerac ;  a  play  in  5 
acts;  tr.  from  the  French  by  Gladys  Thomas  and 
M.  F.  Guillemard.  294  p.  D.  N.  Y.,  1900.  Russell, 
Jtl. 

A  romantic  play  of  high  literary  and  histrionic  value. 
Of  the  translations  this  in  blank  verse  is  '  perhaps  the  best. 
N.  Y.  State  Library,  Bulletin  of  Best  Books. 

Rostand,  Edmond.  Cyrano  de  Bergerac;  an  heroic 
comedy  in  5  acts ;  tr.  from  the  French  by  Charles 
Renauld,  with  an  introduction  by  Adolphe  Cohn.  233 
p.  D.  N.  Y.,  0x898.  Stokes,  SOG. 

Rostand,  Edmond.  Cyrano  de  Bergerac ;  tr.  from  the 
French  by  Gertrude  Hall.  235  p.  S.  N.  Y.,  1898. 
Doubleday,  5oc. 

Reviewed  in  Archer,  William,  Study  and  stage,  1899, 
p.  44-50;  Crawford,  V.  M.,  Studies  in  foreign  literature, 
X899,  p.  27-48;  Poet-lore.  Jan.-Mar.,  1899,  11:118-24;  Nine- 
teenth Cent.,  July,  1898,  44:  102-15,  by  Stanley  Young; 
Athenaeum,  Ap.  28,  1900,  i :  538  (Rev.  of  the  Ogilvie  &  Parker 
translation);  Forum,  Dec.,  1898, 26  :  502-12,  by  GustavKobbe: 
Saturday  Rev.,  86: 42  ;  89  :  524,  by  Max  Beerbohm  ;  National 
Mag.,  9  :  471,  Coquelin's  French  version  of  the  play,  by  P.  S. 
Vimbert;  Bookman,  Dec.,  1899,  n  : 363-66,  by  Paul  Wilstac. 

Cyrano,  Rostand,  Coquelin.  (See  Current  Literature, 
July,  1900,  29:  26-7.) 

Extract  from  Eliot  Gregory's  Reading  from  the  Ways  of 
Men. 

Rostand.  Edmond.  (The)  Fantasticks ;  a  romantic 
comedy  in  3  acts ;  freely  done  into  English  verse  by 
George  Fleming.  150  p.  D.  N.  Y.  Heinemann, 
2S.  6d. 

29 


Rostand,     Edmond.        La    Princesse    Lointaine    (The 
princess  Far-away) ;  a  play  in  4  acts   iri  verse  ;  tr.  into 
English  verse  with   a  preface    by  Charles    Renauld. 
no  p.  D.    N.  Y.,  01899.      Stokes,  5oc. 
A  poor  translation. 

Reviewed  in  Saturday  Rev.,  June  22,  1895,  79  : 828-9,  by 
G :  B.  Shaw. 

Rostand,  Edmond.  L'Aiglon  ;  a  play  in  6  acts ;  adapted 
into  English  by  L.  N.  Parker.  261  p.  O.  N.  Y.,  1900. 
Russell,  $1.50, 

This  tragedy,  with  its  poor,  weak  little  hero  (the  young 
king  of  Rome,  son  of  Napoleon  I),  its  frivolity  and  its  de- 
cadent circumstance,  makes  a  stronger  effect  than  Cyrano  — 
stronger  even  though  less  obvious. 

Reviewed  in  Aldrich,  T.  B.,  Note  on  L'Aiglon  (See 
his  Ponkapog  papers.  1903.  p.  73-81);  Athenaeum,  Mar.  17, 
1900,  i :  334-5,  oy  Jules  Claretie  ;  June  8,  1901,  i :  735  ;  Nation, 
May  10,  1900,  70 :  356-7 ;  Feb.  7,  1901,  72 : 114. 

Rostand,  Edmond.  The  romancers ;  a  comedy  in  3 
acts;  tr.  by  Mary  Hendee.  134  p.  S.  N.  Y.,  1899. 
Doubleday,  5oc.  net. 

Scene  is  laid  in  a  bright  garden  of  ilowers  and  trees, 
without  regard  to  special  time  or  place.  Fanciful,  jesting 
and  gay  —  a  merry  burlesque  of  the  scheme  of  Romeo  and 
Juliet.  A.  Henderson. 

A  remarkable  play  in  execution.     Jules  Lemaitre. 
Reviewed  in  Athenaeum,  June  2, 1900,  i  =699. 

Criticism. 

Chesterton,  Gilbert  Keith.  Rostand.  (See  his  Varied 
types.  1903.  p.  73-82.) 

For  reviews  see  G.  K.  Chesterton  entry  under  Maeterlinck. 

Filon,  Augustin.  Modern  French  drama,  7  essays,  tr.  by 
J.  E.  Hogarth,  with  an  introd.  by  W.  L.  Courtney. 
304  p.  D.  Lond.,  1898.  Chapman,  75.  6d. 

Reprinted  from  Fortnightly   Rev.,  July,   1898,  70:98-114. 

Chapter  7  is  a  criticism  of  Cyrano  de  Bergerac  with  a  few 

personal  notes  on  the  original  Cyrano  and  Rostand  himself. 

Hapgood,  Norman.  Rostand.  (See  his  Stage  in  Amer- 
ica, 1897-1900.  1901.  p.  249-78.) 

Criticism  of  Rostand's  plays  and  the  acting  of  them. 

Henderson,  Archibald.  The  theatre  of  Edmond  Rostand. 
(See  Arena,  Sep.,  1905,  34:  225-34.) 

Full  and  informing  criticism,  but  extravagant  in  praise. 
A  good  portrait  of  Rostand  accompanies  the  article. 

Howells,  William  Dean.    The  new  poetic  drama.    (See 
North  American  Rev.,  May,  1901,  172  :  794-800.) 
Comparison  of  Rostand  with  Stephen  Phillips. 

30 


James,  Henry.  Edmond  Rostand.  (See  Critic,  Nov., 
1901,  39:437-5°-) 

A  broad  minded  and  penetrative  analysis. 
Published  also  in  Cornhill  Mag.,  84:  577-98. 

M.  Edmond  Rostand.     (See  Critic,  Oct.,  1901,39:299.) 

A  brief,  personal   sketch    with  a    full    length,    highly 
characteristic  portrait. 

M.  Edmond  Rostand  and  the  literary  prospects  of  the 
drama.  (See  Edinburgh  Rev.,  July-Oct.,  1900,  192: 
307-21.) 

Analyzes  each  of  his  five  plays,  and  indicates  their  literary 
spirit. 

Moffett,  Cleveland.    The  author  of  "  Cyrano";  a  study 

of  Edmond  Rostand's  personality  and  methods  of 

writing.     (See  McClure's  Mag.,  Mar.,  1900,  14:437-45.) 

A  personal  sketch  ;  a  talk  with  Coquelin  and  Rostand ; 

how  "  Cyrano  "  was  written. 

On  displaying  celebrities.  (See  Nation,  June  25,  1903, 
76:  510-11.) 

Account  of  Rostand's  reception  into  the  French  Academy. 

Sedgwick,  Ellery.  M.  Edmond  Rostand.  (See  Atlantic 
Mo.,  Dec.,  1898,  82 : 826-33.) 

Slight  biographical   and  critical  sketch.     Readable  yet 
hardly  more  than  a  surface  criticism  of  the  plays. 


SHAW. 

Shaw,  George  Bernard.     Plays,  pleasant  and  unpleasant 
2  v.  D.    Chic.,  1898.    Stone,  $2.50. 

A  delight  to  the  intellectual,  a  mockery  to  the  brainless  a 
contusion  to  those  who,  having  brains,  cannot  use  them. 
Baltimore  Sun. 

In  the  preface  of  each  volume  Shaw  expounds  in  a 
historical  and  highly  personal  way  his  views  as  to  the  relation 
between  the  players  and  the  play. 

Contents :  — 

V.  i.    The  unpleasant  plays: 
Widowers'  houses. 
The  philanderer. 
Mrs.  Warren's  profession. 
V.  2.    The  pleasant  plays  : 
You  never  can  tell. 
Arms  and  the  man. 
Candida. 
The  man  of  destiny. 

T  RMVif-wedJni Dia1'  Juoly  l6'  1898,25:43-5,  byE.  E.  Hale, 
Jr. ;  Nation,  July  14,  1808,  67  : 36-7 ;  Athenseum,  May  28,  1898 
1:703-4;  Bookman,  July,  1898,  7:416-7,  by  Paul  Wilstach; 
Acaaemy,  53:  401-3 :  490-2;  613-4;  Bookbuyer,  July,  1898  26' 
e/-.-»_r-  K.T  T  T>  c,,Ti:..T:  •*  '  '  **j"»j  j"*j>  i"7",  •«"  • 


Shaw,  George  Bernard.    Arms  and  the  man. 

Scene  is  laid  in  a  Bulgarian  mountain  hotel  in  1885. 
"  Amusingly  iconoclastic  with  Mr.  Shaw's  notion  of  con- 
ventional heroism  as  its  target. " 

Shaw,  George  Bernard.     Candida. 

A  comedy  of  more  depth  than  others  of  the  "  mere  plays  " 
in  the  "Plays  pleasant."  The  characterization  is  varied. 
The  clergyman  and  Candida  herself  are  particularly  true 
studies,  the  former  being  the  exponent  of  Christian  socialist 
idealism. 

Reviewed  in  London  Times,  Ap.,  1904,  p.  133  •,  Athenaeum, 
Ap.  30, 1904,  i :  570;  Academy,  May  7, 1904,  66  : 528. 

Shaw,  George  Bernard.     Man  of  destiny. 

An  original  one-act  complicati9n  in  which  Napoleon, 
leading  the  French  army  into  Italy  in  1796,  quarters  himself 
at  a  little  inn  and  at  a  Milanese  repast  carries  on  a  very 
engrossing  dialogue  with  "The  Lady".  Shaw  makes 
Napoleon  a  mouthpiece  with  which'  he  lectures  Englishmen 
in  his  own  whimsical  fashion. 

Reviewed  in  Bookman,  Ap.,  1904,  19  : 160,  by  F.  M.  Colby. 

Shaw,  George  Bernard.    Mrs.  Warren's  profession. 

Based  on  the  Socialists'  plea  that  the  necessary  result  of 
poverty  is  vice.  Unpleasant  as  are  all  the  convincing 
arguments  to  those  who  would  rather  shut  their  eyes  and 
ears  than  be  convinced  and  convicted,  it  is  nevertheless  made 
entertaining  by  the  charm  of  the  characters.  Frank,  "the 
good-for-nothing,"  is  especially  delightful.  Structurally  the 
interest  is  held  by  the  brilliancy  of  the  dial9gue  rather  than 
by  action,  and  surprise  is  substituted  for  climax. 

Reviewed  in  Saturday  Rev.,  1898,  85:651,679,  by  Max 
Beerbohm;  Westminster  Rev.,  Mar.,  1902,  157:344-7. 

Author's  apology ;  from  Mrs.  Warren's  profession  ; 
with  an  introd.  by  John  Corbin.  67  p.  S.  N.  Y., 
1905.  Brentano,  pap.  6oc.  net. 

Shaw,  George  Bernard.     (The)  Philanderer. 

This  play  points  out  the  fact  that  certain  usages  of  society 
are  being  outgrown  —  for  instance,  marriage  in  its  present 
form.  But  as  no  practical  substitute  is  suggested,  the  point 
is  weakened.  It  loses  prominence  also  through  the  develop- 
ment of  the  humorous  situations  wherein  lies  the  chief  merit 
of  the  play.  Incidental  is  a  gratifying  though  subtle  attack 
on  vivisection.  As  a  whole  it  is  slightly  tragic  and  very 
amusing. 

Shaw,  George  Bernard.    Widowers'  houses. 

"  Middle  class  respectability  and  younger  son  gentility 
fattening  on  the  poverty  of  the  slum  as  flies  fatten  on  filth 
is  the  way  Shaw  puts  it.  His  own  feeling  on  the  subject  is 
so  strong  that  his  irony  becomes  too  bitter  to  be  entertaining 
and  the  didactic  trend  encumbers  the  dramatic  power  with 
the  result  that  the  whole  is  rather  ineffectual.  The  characters 
are  nearly  all  "  villains  "  and  are  treated  in  an  unnatural  and 
old-fashioned  style. 

32 


Shaw,  George  Bernard.    You  never  can  tell. 

A  successful  comedy  with  a  theme  that  is  both  droll  and 
complex,  but  realistically  developed.  The  characters  make 
but  a  feeble  impression,  except  perhaps  that  of  an  elderly 
waiter  who,  in  the  farcical  ending,  dances  through  the  hotel 
rooms  with  a  young  lady  who  is  saucy,  pert  and  in  some 
ways  delightful. 

Reviewed  in  Athenaeum,  May  12, 1901,  i :  603. 

Shaw,  George  Bernard.  Three  plays  for  Puritans ; 
being  a  3d  volume  of  his  collected  plays.  315  p.  D. 
Chic.,  1904.  Stone. 

This  volume  is  not  edifying,  but  it  is  entertaining ;  and 
what  is  more,  if  you  have  never  read  a  play,  or  if,  having 
read  one,  you  regretted  the  effort,  the  present  volume  will  be 
a  revelation.  Baltimore  Sun. 

Contents :  — 
Devil's  disciple. 
Caesar  and  Cleopatra. 
Captain  Brassbound's  conversion. 

Reviewed  in  Dial,  May  16,  1901,  30:343;  Nation,  June  6, 
IQOI,  72  :  460;  Literary  World,  Aug.  i,  1901,  32  :  126  ;  Saturday 
Rev.,  Jan.  26,  1901,  91 : 107-8,  by  Max  Beerbohm  ;  Athenaeum, 
Feb.  9,  1901,  i :  186-7;  Spectator,  Ap.  13,  1901,  86:  534-6. 

Shaw,  George  Bernard.     Caesar  and  Cleopatra. 

Setting  is  on  the  Syrian  border  of  Egypt  toward  the  end 
of  the  230:  dynasty.  A  study  of  antiquity,  humorous  and 
truth-telling,  and  tending  to  be  both  real  and  fantastic. 

Shaw,  George  Bernard.  Captain  Brassbound's  con- 
version. 

The  author  claims  to  have  stolen  "the  scenery,  atmos 
phere  and  knowledge  of  the  East"  from  Cunningham 
Grahame's  Morocco  the  Most  Holy.  A  farce  so  bound  to 
tickle  the  humor  of  the  reader  that  he  forgets  to  be  dissatisfied 
with  its  cynicism. 

Shaw,  George  Bernard.    The  devil's  disciple. 

In  the  preface,  "  On  Diabolian  ethics,"  the  author  refers 
to  this  as  the  novelty  of  the  advanced  thought  of  my  day  — 
a  play  certain  to  be  written  at  the  end  of  the  nineteenth 
century."  It  has  some  tragic  situations  mingled  with 
malicious,  roistering  humor. 

Works  published  separately. 

Shaw,  George  Bernard.  Cashel  Byron's  profession  .  .  . 
also,  The  admirable  Bashville ;  or,  Constancy  unre- 
warded ;  being  the  novel  of  Cashel  Byron's  profession 
done  into  a  stage  play  in  3  acts  and  blank  verse. 
376  p.  D.  Chic.,  1901.  Stone,  $1.50. 

An  exceedingly  clever  and  ruthlessly  disagreeable  eluci- 
dation of  a  phase  of  life  generally  avoided.  Cashel  Byron  is 
a  prize  fighter,  a  champion  light-weight,  well-born  and  clean- 
mmdied.  A  young  woman,  rich,  refined  and  bookish,  falls 
helplessly  in  love  with  him  and  marries  him  in  mute,  des- 
perate defiance  of  social  laws. 

Reviewed  in  Critic,  Feb.,  1902,  40 : 179  ;  Saturday  Rev. 
Nov.  2, 1901,  92  :  556,  by  Max  Beerbohm. 

33 


Shaw,  George  Bernard.  Man  and  superman  ;  a  comedy 
and  a  philosophy.  244  p.  D.  N.  Y.,  1904.  Brentano 
$1.25  net. 

A  clever,  satirical  play  which  is  made  the  vehicle  of  a  very 
daring  theory  of  social  life,  matrimony,  and  the  development 
of  the  "  superman.  " 

Reviewed  in  Athenaeum,  Sep.  26,  1903,  2 : 422-3,  by  William 
91:840-1;  Dial,    T 


Archer;  Spectator,  Nov.  21,  1903, 
Henderson ;  N 

!,  43:3IO~I2tby    »» 11110.111  .TIK.IIGI  ,  ;xu^., 
.   H.   Dunbar ;    Bookman,    Aug.,  1903, 


3,37:33-4,  by  A.  Henderson;  Nation,   Dec.  15, 
;  Critic,  Oct.,  1903,  43:310-12,  by  William  Archer 


1904,  45:186-7 
19:609-10,  by 
Oct.,  1903,  1  74  -,532-4. 


July  16, 
1904,  79: 
Aug., 


,  -,  by 

19:609-10,  by  F.  M.   Colby;  Blackwood's  Edinburgh   Mag., 


Shaw,  George  Bernard.  Dramatic  opinions  and  essays  ; 
containing  ...  a  word  on  the  dramatic  opinions  and 
essays  of  G.  Bernard  Shaw,  by  James  Huneker.  2  v. 
D.  N.  Y.,  1906.  Brentano,  $2.50  net. 

Selections  from  dramatic  criticisms  which  appeared  in  the 
London  Saturday  Review,  1895-98.  A  combination  of  acute 
and  searching  criticism  of  modern  plays  and  players  with 
unlimited  flippancy  and  egotism.  Deliciously  entertaining, 
if  not  altogether  profitable,  reading  for  those  familiar  with 
the  plays  and  the  actors.  A.  L.  A.  Booklist. 

Shaw,  George  Bernard.  Quintessence  of  Ibsenism. 
Ed.  2.  170  p.  D.  Bost.,  1891.  Brentano,  $i. 

This  book,  short  as  it  is,  affords  the  best  key  we  have  to 
Shaw's  doctrine. 

Criticism. 

An  Irish  bull  in  the  china  shop.  (See  Independent, 
Nov.  2,  1905,  59  :  1060-1.) 

Editorial  on  Shaw  and  prudish  "  Comstockery  "  . 

Archer,  William.  Mr.  Bernard  Shaw's  plays.  (See  his 
Study  and  stage,  —  a  year-book  of  criticism.  1899. 
p.  1-22.) 

Balanced  criticism  and  praise  by  a  well  known  theatre 
critic. 

Barnicoat,  Constance  A.  Mr.  Bernard  Shaw's  counter- 
feit presentment  of  women.  (See  Fortnightly  Rev., 
Mar.,  1906,  85:516-27.) 

A  match  for  Shaw  in  clever  audacity.  She  quotes  freely 
to  illustrate  his  various  methods  of  constructing  woman's 
nature. 

Published  also  in  Living  Age,  Ap.,  1906,  249  :  67-75. 

Beers,  Henry  A.  The  English  drama  of  today.  (See 
North  American  Rev.,  May,  1905,  180:746-57.) 

Shaw,  Phillips,  Yeats  and  others  are  considered  with 
rather  secondary  critical  treatment. 

Gary,  Elizabeth  Luther.  Apostles  of  the  new  drama. 
(See  Lamp,  Jan.,  1904,  27:593-8.) 

These  apostles  are  W.  B.  Yeats  and  G.  B.  Shaw. 

34 


Chilton,  C.  B.     Shaw  contra  mundum.     (See   Indepen- 
dent, Mar.  8,  1906,  60:  550-6.) 

France,  Wilmer  Cave.     Philosophy  of  George   Bernard 
Shaw.    (See  Bookman,  June,  1905,  21  -.428-31.) 
Brief,  but  well  summarized. 

George   Bernard   Shaw,  an    enquiry.       (See  Academy, 
Feb.  9,  1901,  60:127-8.) 

Henderson,    Archibald.      Arnold    Daly    and    Bernard 
Shaw;  a  bit  of  dramatic  history.     (See  Arena,  Nov., 

1904,  32 : 489-96.) 

Is  Bernard  Shaw  a  menace  to  morals  ?    (See  Current 

literature,  Nov.,  1905,  39  :  551-2.) 

Some  discussion  provoked  by  the  comments  of  Mr.  A.  E. 

Bostwick  of  the  New  York  Public  Library  on  circulating 

Shaw's  books. 
Loraine,  Robert.    Where  does   Shaw  leave  you  ?    (See 

Cosmopolitan,  Jan.,  1906,  40  :  339-44.) 
Lewis,  Austin.      The  Nemesis  of  Bernard  Shaw.      (See 

Overland  Mo.,  Oct.,  1905,  61 :  369-71.) 

Mr.  Lewis  is  a  socialistic  writer  of  San  Francisco  and  a 

friendly  commentator  who  considers  Shaw  a  man  who  has 

failed  to  "make  good". 

Lewis,  Austin.    The  point  of  view  of  Bernard  Shaw. 
(See  Overland  Mo.,  Jan.,  1904,  58  : 43-6.) 

Mencken,  Henry  Louis.  George  Bernard  Shaw,  his 
plays ;  a  critical  analysis  of  all  Shaw's  literary  and 
dramatic  work.  107  p.  D.  Bost.,  1905.  Luce,  $i. 
Reviewed  in  Nation,  Feb.  i,  1906,  82 : 103-4. 
Well  written  and  informing.  Mr.  Mencken  is,  obviously, 
an  admirer  of  Shaw,  but  he  is  no  mere  idolater.  His  book 
comprises  an  essay  on  Shaw  as  a  dramatist  which  is  re- 
markably comprehensive  in  its  scope,  and  perhaps  open  to 
argument  as  to  its  doctrine.  But  it  is  good  reading.  Then 
follow  chapters  descriptive  and  amiably  critical  on  Shaw's 
plays. 

Norman,    Florence.       George     Bernard     Shaw.      (See 
Academy,  Mar.  2,  1901,  60: 192-3.) 

Reply  to  an  article  entitled,  George  Bernard  Shaw,  an 
enquiry,  that  appeared  in  Academy,  Feb.  9,  1901,  60  : 127-8. 

Plays  of  Mr.    Bernard   Shaw.      (See  Edinburgh  Rev., 

1905,  201  : 498-523.) 

An  acceptable  study  of  all  the  published  collections  of 
Shaw's  plays.  Treats  him  seriously  as  a  dramatist  of  genius 
and  an  earnest  reformer. 

Reply   to   Shaw's  "Better  than  Shakespeare?"     (See 
Harper's  Mag.,  Sep.,  1905,  in  : 633-5.) 

In  the  notes  from  the  "  Editor's  easy  chair  "   Harper's 
Magazine  publishes  a  reply  to  Shaw's  own  claim  that  ne  is 

Greater  than  Shakespeare  as  a  master  of  poetic  drama.    Mr. 
haw  makes  this  claim  in  his  preface  to  the   Three  Plays 
for  Puritans  under  the  caption  "  Better  than  Shakespeare  ?" 

35 


Simpson,  Herman.  Shaw  as  playwright  and  philosopher. 
(See  Independent,  July  6,  1905,  59134-8.) 

Strachey,  Lionel.  The  popularity  of  Bernard  Shaw. 
(See  Critic,  Nov.,  1905,  47:415-23.) 

A  general  article,  predominantly  Pro  Shaw,  reviewing  his 
Plays,  Pleasant  and  Unpleasant.  Many  pictures  of 
various  stage  scenes  are  given. 

Street,  G.  S.  Sheridan  and  Mr.  Shaw.  (See  Black- 
wood's  Edinburgh  Mag.,  June,  1900,  167  :  832-6.) 

Conscientious  criticism  pointing  out  that  Shaw's  abun- 
dance of  ideas  has  both  made  and  spoiled  his  plays.  Dis- 
cusses the  similarity  between  Shaw  and  Sheridan. 

Tarpey,   W.   Kingsley.      English    dramatists  of    today. 
(See  Critic,  Aug.,  1900,  37  : 124.) 
A  brief  summary. 

Walkley,  Arthur  Bingham.  George  Bernard  Shaw.    (See 

his  Frames  of  mind,  1899.) 

Reviewed  in  Athenaeum,  Jan.  13,  1900,  i :  40. 
(The)  yellow  dramatist.    (See  Outlook,  Nov.  25,   1905, 

81  :  701.) 

SUDERMANN. 

Sudermann,  Hermann.  Fires  of  St.  John,  a  drama  in 
four  acts ;  tr.  and  adapted  by  Charles  Swickard. 
139  p.  O.  Bost.,  1904.  Luce,  #1.25. 

An  old  German  peasant  custom  of  lighting  bonfires  and 
dancing  around  them  on  St.  John's  eve  is  used  as  an  alle- 
gorical background  for  this  romantic  drama.  The  custom 
symbolizes  "  the  outburst  in  the  human  soul,  after  Christian 
centuries,  of  the  wild  yearnings  and  primeval  passions  of 
unregenerate  man."  One  follows  the  plot  with  the  feeling 
that  it  is  an  unsatisfactory  play  with  a  conclusion  that  is 
unforgivable. 

Sudermann,  Hermann.  Fires  of  St.  John,  a  drama  in 
four  acts ;  tr.  from  the  German  by  Charlotte  Porter 
and  H.  C.  Porter.  (See  Poet-lore,  Jan.-Mar.,  1904, 
15:1-71.) 

Sudermann,  Hermann.  St.  John's  fire;  tr.  from  the 
German  by  G.  E.  Polk.  108  p.  O.  Minneapolis,  1905. 
Wilson,  $i. 

Miss  Folk's  translation  is  at  once  faithful  to  the  spirit  of 
the  original  and  to  the  idiom  of  our  own  tongue.  It  is 
neither  slavish  nor  careless.  M.  G.  Peck. 

Reviewed  in  Outlook,  May  27,1905,80:247;  Review  of 
Reviews,  July,  1905,  32  :  127. 

Sudermann,  Hermann.  Johannes  ;  [a  play  in  five  acts] 
tr.  from  the  German  by  W.  H.  Harned  and  Mary 
Harned.  (See  Poet-lore,  Ap.-June,  1899,  n  :  161-236.) 

A  tragedy  of  great  dramatic  and  religious  interest.  The 
Jewish  prophet,  in  struggling  for  a  Christ  ideal  190  visionary 
and  austere  for  his  human  followers,  becomes  disenchanted 

36 


with  himself  and  tragically  falls.  In  the  fall  he  awakens  to 
his  weak  hold  on  the  power  of  Love.  The  Gospel  story  is 
enlarged  to  show  the  psychological  purpose  of  the  play. 
There  is  lack  of  unity  in  the  whole  and  the  main  lines  are 
commonplace  and  conventional. 

Reviewed  in  Francke.  Kuno,  Sudermann's  John  the 
Baptist.  (See  his  Glimpses  of  modern  German  culture. 
1898.  p.  142-53-) 

Sudermann,  Hermann.  (The)  Joy  of  living  ...  a  play 
in  five  acts  ;  tr.  from  the  German  by  Edith  Wharton. 
185  p.  D.  N.  Y.,  1903.  Scribner,  #1.25  net. 

The  well-drawn  characters  typify  the  Berlinese  aristoc- 
racy who  live  in  an  environment  wholly  political.  The 
truthful  art  of  the  author  brings  his  message  and  psychology 
before  our  minds  brutally  "  as  it  is." 

He  would  have  us  see  that  there  are  personalities  — such 
as  the  one  typified  in  the  high-minded  Beata  — so  big  that 
they  can  beg  reasons  for  transcending  moral  laws.  The 
point  of  the  title  is  the  proposal  of  a  "Toast  to  life  "  by  the 
guilty  Beata  herself  at  the  moment  when  her  own  self- 
inflicted  death  is  near.  The  fine  workmanship  of  the  play 
and  the  opportunities  it  offers  for  artistic  interpretation 
have  given  it  great  stage  success. 

Reviewed  in  Poet-lore,  Jan.-Mar.,  1903, 14:114-26,  by  P.  H. 
Grummann  ;  Ap.-June,  1903,  14  :  5-11,  by  H.  A.  C. ;  Nation, 
Feb.  27,  1002,  74:  169-70,  by  Charles  -Harris:  Fortnightly 
Rev.,  Sep.,  1902,  78:  429-40,  by  W.  S.  Lilly ;  Athenaeum,  Feb. 
28,  1903,  i  :  283 ;  July  4,  1903,  2 : 38 ;  July  18,  1903,  2 : 103. 
Sudermann,  Hermann.  Magda,  a  play  in  four  acts  ;  tr. 
from  the  German  by  C.  E.  A.  Winslow.  161  p.  D. 
Host.,  1895.  Lamson,  5oc.  net. 

Pre-eminently  a  study  of  character  and  environment, 
offering,  in  the  characters  of  Schwartze  and  his  outcast 
daughter  Magda,  a  contrast  between  provincial  and  cos- 
mopolitan ideals,  the  petty  narrowness  of  the  one  and  the 
irresponsible  lawlessness  of  the  other.  The  Pastor,  the 
real  hero  of  the  play,  represents  the  true  sanity,  order  and 
law  of  life.  Technically  perfect  as  an  acting  drama  it  is 
also  an  intensely  interesting  one  to  read. 

Reviewed  in  Poet-lore,  Oct. -Dec.,  1896,  8  :  557-63;  Atlantic 
Mo.,  Jan.,  1898,  81  :  71-80,  by  J.  F.  Coar. 

Sudermann,  Hermann.  Morituri :  Teias ;  tr.  by  Mary 
Harned.  (See  Poet-lore,  July-Sep.,  1897,  9:  330-52.) 

A  one-act  drama  compacted  into  one  brief  scene.  Its 
gloomy  theme  shows  the  stern  Ostrogothic  king's  reaction 
in  character  as  he  is  made  to  face  death  by  an  encircling 
enemy.  The  play  belongs  to  the  famous  Morituri  group 
which  is  closely  interlinked  with  the  best  part  of  the  author's 
work  as  a  whole. 

Sudermann,  Hermann.  (The)  Three  heron's  feathers;  tr. 
by  H.  T.  Porter.  (See  Poet-lore,  Ap.-June,  1900, 
12  :  161-234.) 

An  unsuccessful  venture  away  from  the  use  of  prose  and 
naturalistic  construction  into  the  employment  of  poetic 
artifice  and  the  fairy  tale.  Allegorical  and  fanciful,  the 
drama  is  intended  to  symbolize  the  same  restless  cravings 
of  the  same  emotional  idealist  that  Hauptmann  symbolizes, 
but  with  more  beauty,  in  The  Sunken  Bell. 

37 


Criticism. 

Coar,  J.  Firman.  Three  contemporary  German  drama- 
tists. (See  Atlantic  Mo.,  Jan.,  1898,  81  :  71-80.) 

A  comparison  of  Sudermann,  Hauptmann  and  Wilden- 
bruch. 

Florer,  Warren  Washburn.  Recent  German  criticism ; 
Hermann  Sudermann.  (See  Poet-lore,  Sep.,  1905, 
16: 116-23.) 

Heller,  Otto.  Studies  in  modern  German  literature : 
Sudermann,  Hauptmann,  women  writers  of  the  igth 
century.  301  p.  D.  Bost.,  1905.  Ginn,  $1.25. 

Distinctly  popular  essays  indicating,  in  a  way  adapted  to 
readers  who  have  little  first-hand  information,  the  chief 
aspects  of  the  work  of  Sudermann,  Hauptmann  and  some 
minor  women  writers.  The  critic,  while  not  great,  is 
always  sensible  and  genuinely  interested  and  interesting. 
He  snows  his  high  estimate  of  the  two  great  dramatists 
in  an  unduly  favorable  and  somewhat  too  detailed  analysis 
of  their  plays,  arranged  in  chronological  order. 

Reviewed  in  Athenaeum,  Nov.  18,  1905,  2:  685;  Poet-lore, 
Sep.,  1905, 16:127-8. 

Jones,  Dora  M.  Plays  of  Hermann  Sudermann.  (See 
Westminster  Rev:,  Nov.,  1900,  154:  553-60.) 

A  general  characterization,  slight  in  substance  and  value. 

Meyer,  Edward  Stockton.  Modern  German  drama. 
(See  Critic,  July,  1905,  47  :  61-70.) 

Treats  of  the  features  of  German  naturalism  as  developed 
in  Sudermann  and  Hauptmann. 

Meyer,  Richard  M.  Hermann  Sudermann.  (See  Inter- 
national Mo.,  1902,  6  :  140-54.) 

Biographical  and  critical.    Fair  and  to  the  point. 

Steiner,  Edward  A.  Two  German  dramatists.  (See 
Outlook,  Jan.  5,  1901,  67  :  74-7.) 

Based  on  personal  visits  to  Sudermann  and  Hauptmann, 
and  condensed  into  a  brief  analysis  of  a  few  stage  plays. 

Strang,  Lewis  C.      Sudermann  and  Maeterlinck.      (See 
his   Players  and  plays  of  the  last  quarter  century. 
1903.    v.  2.    p.  259-71.) 
Biographical  and  critical. 

Wells,  Benjamin  Willis.  Hermann  Sudermann.  (See 
Forum,  Nov.,  1898,  26:  374-84.) 

A  biographical  and  critical  sketch  of  Sudermann  by  the 
author  of  Modern  German  ^Literature.  Of  the  plays 
mentioned  in  this  list  Mr.  Wells  considers  two  —  Magda  and 
Johannes  (John  the  Baptist). 


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